Moving on

In case you’ve missed it — I’ve moved to http://www.artsyhonker.net (and hope to stay there). This blog was really a sort of interim measure to get used to using WordPress.

Press release on Women in the Episcopate

Ruthie Gledhill has kindly put the press release at her tumblr. It is, she says, the worst press release since the Reformation.

My understanding of it is as follows:

Changes made to the draft measure:

1) Clarification of the word “delegation” to mean legal permission to act as a bishop rather than sacramental derivation of bishoppyness;

2) Inclusion in measure of guidelines stating that pastoral provision for parishes unable to accept female bishops must be practically consistent with their theology (it isn’t enough to be assigned a male bishop; the male bishop must not ordain women). [I see this as about practical actions rather than beliefs, but I do wonder what happens if no such bishop is available.]

The draft must now go to the “Group of Six” who will decide whether the changes are substantive (in which case more bureaucracy cycles) or not (I believe it then goes to General Synod for a final vote, but it may be more complicated than that).

Flash Compline: Wednesday, 23rd May

There will be a Flash Compline service at 9.45pm on Wednesday, 23rd May, outside St James Garlickhythe, near Mansion House Tube station. Here is a map.

Music: We will use this setting of Compline. I will have a small number of spare copies, which you can purchase from me for £2 if you want to keep them, or borrow if you don’t. Don’t worry if you aren’t a confident singer — follow along with the text and see what you can pick up. Everyone is welcome. If we don’t have enough confident singers we can always say the liturgy instead.

This setting uses the words from Common Worship Traditional Language Compline. Various smartphone apps for this exist and it is available from the C of E website here on the day, if you’re worried we won’t have enough music or you’d rather just use the words.

PLEASE ARRIVE QUIETLY AND DEPART IN SILENCE.

@FlashCompline on Twitter
Flash Compline on Facebook

I hate cancelled services…

…so we are still going to have Evensong at St Paul’s-in-the-Camp this evening.

I have no wish to compete with the cathedral, but I also don’t want anyone turning up thinking there is a service and then finding out there isn’t one. That has happened to me so many times, in so many contexts, that I can’t bring myself to take the risk of it happening to someone else.

I do plan to attend the Evensong inside St Paul’s at 5pm, but then, I really really like Evensong.

Lost Link

Some time ago — a year, two years? — I came across an article on the technical demands of music. I think it might have been linked to from Elaine Fine’s blog, Musical Assumptions (to which I commend you anyway), but I can’t find it there.

I remember quite clearly that it used a typing analogy, comparing playing music to copy-typing, but in a specific rhythm, in time with others, with precise pressure on each key according to how bold the letters are on the page, and having to get everything right. It went into more detail than that and explained the process far better than I can.

I can’t find it anywhere. Has anyone seen it?

Candlemas


By Window: workshop of Franz Borgias Mayer (1848–1926); Photo: Wojciech Dittwald (my own photo) [http://www.gnu.org/copyleft/fdl.html“>GFDL or CC-BY-SA-3.0], via Wikimedia Commons

When to the temple Mary went,
And brought the Holy Child,
Him did the aged Simeon see,
As it had been revealed.
He took up Jesus in his arms
And blessing God he said:
In peace I now depart, my Saviour having seen,
The Hope of Israel, the Light of men.

Help now thy servants, gracious Lord,
That we may ever be
As once the faithful Simeon was,
Rejoicing but in Thee;
And when we must from earth departure take,
May gently fall asleep and with Thee wake.



Bobby McFerrin

I’ve just come back from hearing Bobby McFerrin perform at the Barbican, along with the London Vocal Project.

The concert was wonderful. Bobby McFerrin was in fine form, and although the performance was in some ways his usual “bag of tricks” (I had seen several portions of it before on YouTube and so on), that bag of tricks is simply astounding. The improvised numbers were, of course, fantastic.
The choir — the London Vocal Project — was technically excellent and understandably enthusiastic. I found the music they sang much less varied and flexible than McFerrin’s solo numbers; the harmony and melody were somewhat less engaging, though the rhythmic complexity was quite good. I wonder what they can do in a wider range of genres and idioms.
The best thing, of course, is that I have come away full of ideas and enthusiasm for my own playing and writing. Whee!

Concert reminder; London miscellany

The London Gallery Quire presents a

Christmas Concert
of West Gallery Music
as sung during the Georgian period (1720-1850)

Wednesday 10th December
6.30pm for 7.00pm.
Tickets – £5 on the door

An opportunity to see inside the oldest German church in England
St George’s German Lutheran Church
55 Alie Street, London E1 8EB
Aldgate East tube station – exit Leman Street

In other entirely unsurprising news, I have been madly busy. More on that when I don’t have to leave ten minutes ago…

Also, the other night on the Tube I heard Russian throat-singing. How cool is that? I have come to expect random singing drunks on public transport, but they don’t often sing something so specialist, or so well as this particular vodka-pickled individual.

Remember the East London Cockney Awkestra I posted about, ages ago? They do have a website now, as none other than the esteemed Professor Eel himself dropped by to point out.

The performance project that put Stravinsky’s Rite of Spring and Elgar’s Enigma Variations is over; we recorded the last notes yesterday. It was going so well that we actually finished a full half-hour early. It was going so well that if they’d asked me to stay an hour later, I gladly would have done so! I think I enjoyed that project more than any other orchestral project in which I’ve been involved during my time at Trinity. I certainly learned a huge amount, which is why I’m here in the first place.

Now that I have a bit more time, I’m working on my arranging coursework (due 4th December), my Year 4 Project (Watch This Space! More News Soon!), my improvisation coursework (due sometime in January) and quite a bit of playing. I’m playing in a lunchtime recital at St. John on Bethnal Green Church on Wednesday, 14th January; on 25th January I’m playing in the Soloists’ Competition at Trinity, and on 11th February the Lichtental Trio is playing the Brahms Horn Trio in a lunchtime concert at Southwark Cathedral. Of course there is also an exam to prepare for, and various other bits and pieces, and a whole pile of horn and organ repertoire that I ordered ages ago arrived this morning so there is that to look through as well. Classes are finished for the term but as I’ve often pointed out, discretionary time and free time are not the same thing and I remain extremely busy.

The next time I’ll be performing in public, though, is with the London Gallery Quire on 10th December. Our Christmas Concert is at St George’s German Lutheran Church, 55 Alie St, Aldgate E1 8EB, 6.30 for 7.00pm. Tickets are £5 on the door. I’ll mostly be singing, but there is one piece where I may play the horn if they’ll let me. I’ve very much enjoyed rehearsing with the choir and I hope I am able to continue in the spring and summer terms when my academic workload will be increased.

Concert tomorrow

It’s been a while since I’ve updated, I’ve been madly busy for the last several weeks. I’m hoping to get writing again soon.

In the meantime, do come to the concert tomorrow:
Trinity College of Music Symphony Orchestra
Conductor: Edward Gardner

Stravinsky: Rite of Spring
Elgar: Variations on an Original Theme, Op.36

Thursday 20 November, 7.30pm
Blackheath Halls
£10 (£7 concessions)

Trinity College of Music welcomes for the first time the celebrated conductor Edward Gardner to lead its Symphony Orchestra in a performance of Stravinsky’s Rite of Spring and Elgar’s Enigma Variations.

Perhaps not obvious bed-fellows, the music has been specially chosen as part of a major collaboration between Trinity College of Music and BP, for whose centenary film the Symphony Orchestra will be recording the soundtrack.

Depicting the birth of the company quite literally from the earth to its establishment as one of Britain’s giant corporations the music will accompany a major film written and directed by BAFTA/Emmy award-winning screenwriter, novelist and playwright Nigel Williams.

To book please ring the Blackheath Halls Box Office on 020 8463 0100 or online at www.blackheathhalls.com or drop in person to 23 Lee Road, Blackheath, London SE3 9RQ.

(I’ve stolen the text from the TCM website.)