A lovely rehearsal again last Wednesday and so good either to meet up once more or for the first with Vivaldi and his glorious Gloria. Six weeks before we present Bach and Vivaldi to the public on December 21st. One hundred tickets will be on sale from Wednesday at £10.
Please remember to bring a pencil with you to rehearsal to mark scores when necessary as a reminder of some of the detail we are realising….syllables, word endings, duration of notes, breath marks, dynamics.
If you feel you are able to support the concert through sponsorship of the orchestra please let me know. The band will consist of :
Eight violins, two violas, two celli, one double bass; two oboes, two flutes, three trumpets and timpani (cost £1780)
On Thursday of this week (November 10, 19.45 St Gregory’s) Canterbury Music Club welcomes The Sacconi Quartet together with tenor, Mark Padmore and pianist, Simon Lepper. An extraordinary concert not to be missed with Haydn · Quartet in G major, Op. 76, No. 1,Vaughan Williams · On Wenlock Edge and Jonathan Dove · In Damascus . This last piece was commissioned by the Sacconi,receiving its premiere at their Folkestone Festival and this, its fourth performance follows from Aldeburgh and London , where it received a Guardian* five star review
(Seventeen tickets left!)
* Scored for tenor and string quartet, it sets English translations by Anne-Marie McManus of text from the Syrian poet Ali Safar’s A Black Cloud in a Leaden White Sky, or Death by Stabs of Sorrow.
Safar and McManus have distilled elements of the tragic Syrian experience into words that are simple, direct and without any hint of rhetoric or sensation. Dove has succeeded in setting them to music that allows their plainness and understatement to register to maximum effect while maintaining a striking character of its own.
The string writing moves back and forth between painful intensity and frozen introspection, with many subtle shades in between. The tenor line – here presented by Mark Padmore with immaculate artistry, and a technique so finely honed that one scarcely noticed it – amplifies the eloquent candour of the originals.
The overall impact of the work and its performance was profound, an unforgettable example of the power of art to convey something terrible through an expression that is paradoxically in itself beautiful.
George Hall The Guardian July 2016