On Saturday, April 24th, over 30 members of the Opera Company of Philadelphia Chorus and principal cast members from the upcoming production of La Traviata converged on the Reading Terminal Market Italian Festival.
Wearing street clothes and blending in with the crowd, the artists swung into action when the first orchestral strains of the famed "Brindisi" were piped through the market, giving a rousing, surprise performance for hundreds of delighted onlookers who were there to enjoy the Italian delicacies and the everyday treats that the Reading Terminal Market has to offer.
The four-minute piece drew an overwhelming crowd, and won a thunderous ovation that included both laughter and tears from the audience.
Wednesday, September 22, 2010
Tuesday, September 21, 2010
Valiant-for-Truth
Westminster Abbey Choir sing Vaughan Williams' Valiant-for-Truth
After this it was noised abroad that Mr. Valiant-for-Truth was taken with a summons, and had this for a token that the summons was true, 'That his pitcher was broken at the fountain'. When he understood it, he called for his friends, and told them of it.
Then said he, "I am going to my Father's, and though with great difficulty I am got hither, yet now I do not repent of all the trouble I have been at to arrive where I am.
My sword, I give to him that shall succeed me in my pilgrimage, and my courage and skill, to him that can get it.
My marks and scars I carry with me, to be a witness for me, that I have fought his battles, who now will be my rewarder.
When the day that he must go hence, was come, many accompanied him to the river side, into which, as he went, he said, "Death, where is thy sting?"
And as he went down deeper, he said, "Grave, where is thy victory?"
So he passed over, and all the trumpets sounded for him on the other side.
--John Bunyan, "Pilgrim's Progess," set by Ralph Vaughan Williams
After this it was noised abroad that Mr. Valiant-for-Truth was taken with a summons, and had this for a token that the summons was true, 'That his pitcher was broken at the fountain'. When he understood it, he called for his friends, and told them of it.
Then said he, "I am going to my Father's, and though with great difficulty I am got hither, yet now I do not repent of all the trouble I have been at to arrive where I am.
My sword, I give to him that shall succeed me in my pilgrimage, and my courage and skill, to him that can get it.
My marks and scars I carry with me, to be a witness for me, that I have fought his battles, who now will be my rewarder.
When the day that he must go hence, was come, many accompanied him to the river side, into which, as he went, he said, "Death, where is thy sting?"
And as he went down deeper, he said, "Grave, where is thy victory?"
So he passed over, and all the trumpets sounded for him on the other side.
--John Bunyan, "Pilgrim's Progess," set by Ralph Vaughan Williams
Thursday, September 16, 2010
Christcurch Earthquake Benefit Concert
City of Dunedin Choir presents a repeat performance of Zimbe! African Folk with a Jazz Twist which earned a standing ovation from a capacity audience at a recent concert. All proceeds from Sunday's concert will be donated towards alleviating the plight of the victims of the Christchurch earthquake. Please help us to help those who have lost so much in this disaster.
Please note: Ticket pricing is Adult $20 and Child $10
NOTE: This concert made $4,200 for the Mayoral Fund destined for the Canterbury folk who suffered from the September earthquake.
Tuesday, September 14, 2010
Zimbe! review in the Listener
L’Estrange, known for his creative versatility and for the music he wrote for the TV adaptation of McCall Smith’s book The No.1 Ladies Detective Agency, describes Zimbe! as “coming from the seeds of my affinity with African music and the gospel tradition”. The Oxford graduate has collected 15 traditional songs, backed them with jazz. The collection reflects the role of music in everyday life in Africa - from sun rise to sun set, or as the song “Ilanga libuya, ilanga liyaphuma” more optimistically puts it “the sun sets… the sun rises”.
The collection is in two halves, bracketed with slightly altered versions of the refrain “Njooni!, Zimbe!” (Come sing the songs of Africa!). Two children’s games “Sansa Kroma” (Sansa the Hawk), “Pete, Pete!” (Vulture vulture!) and two wedding songs “Wai Bamba “ (You’ve got her!) and “Hamba Lulu” (Go Lulu) highlight the lighter side of the African experience while “Thula Mama, Thula” (a lullaby for mothers of imprisoned sons) and “Vamudara” (in which a drunken man dances himself to death) highlight the everyday pain. The second section opens with the funeral song “Aleluya/Thuma Mîna” accompanied by a section of the choir offstage and danced to most lyrically and sensuously by Banks. Anthems and prayers make up the remaining collection, reflecting the importance of maintaining hope in dire circumstances. “We shall not give up the fight”, “Siyahamba”, “Freedom is coming/ Hamba vangeli” were sung with vigour and joy.
The combined choirs gained momentum as they warmed to the music and warmed the music as they gained momentum. While individual members were obviously not natural-born sing-and-dance people, or at ease without their scores, they were aided by the majority who did enter the spirit of the songs, albeit with elbows firmly wedged to their sides. The overall performance lifted markedly when the scores were put aside and the choir projected the life in the music, imperfections and all, out to the audience.
Zimbe! could be successfully performed by smaller groups less inhibited by a lack of space to move, but a huge crowd singing at full throttle is tremendously exhilarating and a sight to gladden the world-weary.
By Marian Poole, New Zealand Listener, 18 September 2010
Monday, September 13, 2010
Words from the Zimbe! audience
Here are the views from a few members of the audience at the Zimbe! concert, held on 4 September 2010 in the King's and Queen's Performing Arts Centre:
Colin Campbell-Hunt was in the audience and this is what he had to say:
"Well I thought Zimbe was great. Huge energy. Huge enjoyment from the choir (and conductor) and so infectious for the audience. The children were wonderful, casting their beautiful clear voices over the earthy rhythms of the choir. The dancer was of another world. The band was wonderful: ethereal sax, cascading drums, pulsing piano. The two young friends who were with me from Wellington are both good singers (National Youth Choir in their day) and went home vowing to encourage their parents (who sing in the Orpheus) to do it there. Bravo"
Diane Wales reports:
“My totally impartial niece from Wanaka loved it! Very impressed by the children. Thought they looked and sounded great. She did think the dancer could have moved more to the other side instead of always to the right. She didn`t realise there was a standing ovation going on behind her or she would definitely have joined in!”
From Pete Hodgson, MP:
“I thought it was a really good innovation and one that was mostly but not fully pulled off. The first bracket of spirituals was weak. Perhaps because they were too complicated. Perhaps because the bass in the choir was not bass enough. The Argentinian bracket was quirky. The pianist was a delight. The soloist less so.
The rest of the programme was just great. White men can't dance and white women aren't much better. But we already knew that and besides which they sure as hell can sing. And have fun. And cause us to. Lots of fun. Very different experience. Great jazz contribution.
Thank you.”
Deborah Dons reports:
"David Skegg offered his congratulations and said how much he and his wife enjoyed the concert. Graeme Perkins 'loved it'."
Pam Elwood says:
"I was in the Zimbe audience last Saturday - a most enjoyable change from the usual fare. The smaller venue was excellent, tho' the stage was a bit of a squash. I thought perhaps the children could have been dressed differently from the adult choir, to make them stand out more.
The spirituals at the beginning were a bit slow to take off, but as the choir warmed up and got into their stride and the audience responded, it was great. (I wonder if the spirituals were an appropriate choice, maybe something more identified with rest of the material would have been a better fit?)
(Haven't got a programme, so can't remember what was what...)
The offstage "alleluia" after a more energetic piece was brilliant and very effective.... as was the singing accompanied by dance...
There was a point at the conclusion of some songs when the choir really got into the performance and were clearly enjoying themselves where I began to hope the choir would start to sing Wimoweh (The lion sleeps tonight)...
The musical accompaniment was excellent too - would have like some more African drums.
I'm sure you would have got a full house for a repeat performance... maybe put it on again sometime, perhaps to coincide with the biennial Arts Festival? I'd definitely go again.
Jeanette McQuillan gives her views:
"I didn't have a particularly good seat. Right at the far left hand side of the hall and consequently may have had a distorted version of the sound and the action. However, I really loved the music, the harmonies AND the action. From where I was sitting the stepping didn't seem to be particularly coordinated but I don't think it mattered for the style of music. I think it's probably better to have spontaneous movement as long as people look as if they're enjoying themselves and as long as the clapping is synchronized. Anyway as far as I could tell most people were doing just that. There were lots of smiles!
The funeral dance was really beautiful... so graceful.
Sadly, I didn't think that the solo soprano voice fitted in with the choir at all and that moment on the CD is so beautiful in the " Aleluya, Thuma mina", it really didn't work from where I was sitting.
One advantage of being in the front row was the chance to watch the jazz group at close quarters. They were fantastic. I could have listened to Nick Cornish all night and the drummer was spectacular!!
I really liked the venue as well, and think that David did an impressive job as conductor. He was a show on his own!!!"
Donald Cullington reports:
"I was in the audience, sitting a few rows back in the centre, and was most impressed with the vivacity and confidence with which the performance of Zimbe! was imbued.
Two qualifications, which could also be points to bear in mind for the future:
1) the percussion was sometimes too loud for the choir's singing to come through;
2) the impact made by the choir was noticeably less than it would have been in the Town Hall with its raked choir seating.
Of course, these two points are linked, and I might have heard a better balance and greater choral volume if I had sat further back, but where one sits should not make much difference, and the quirks of an unfamiliar performance space have to be taken into account in order to keep every member of the audience happy."
Helen Edwards says:
"Comment from audience members:
To be honest, I cried during the 'Halleluyah'. (South African man)
I was surprised there weren't more Africans in the audience. And I was disappointed that the audience didn't get up and dance. (Zimbabwean woman)
The spirituals were spoiled by a few prominent voices.
The instrumental group held Zimbe together. The performance was respectable, despite the choir being white and mainly older. Some spots needed a bit more gusto and exuberance. The children's choir was impressive. (Dunedin man, 30s)
Personally, I'd love to sing it again. But the accompanying items need some thought so they provide a better match with the expectations of the audience e.g. items from the jazz band, or something tuneful and vibrant from the choir."
John Hale gets his high:
"First of all, the acoustics. I sat at the middle back for the Sinfonia's recent performance (Stravinsky ... Mendelssohn), and heard a big full sound, which I *didn't* hear though I was sitting just behind the conductor for Zimbe. Anyway, from that closer-up position, the singing sounded smaller. It's been my impression from hearing Messiah performances where some choruses are sung from memory, others from the the score, that the memorised ones are almost twice as loud, and full-blooded.
Bigger sound for Zimbe than for Tippett, though. The spirituals sounded a little uncertain at some openings, and unduly decorous for such music.
On the whole I agreed, for the first time ever!, with the ODT reviewer.
AND the whole evening just got better and better, through to that rousing long encore. I got my high by the end. It was a great night out."
From Rosalind Horsman:
'All that work and only one show! I would happily go again.'"
ODT Review:
The review by Marian Poole is posted on the City of Dunedin Choir website.
Colin Campbell-Hunt was in the audience and this is what he had to say:
"Well I thought Zimbe was great. Huge energy. Huge enjoyment from the choir (and conductor) and so infectious for the audience. The children were wonderful, casting their beautiful clear voices over the earthy rhythms of the choir. The dancer was of another world. The band was wonderful: ethereal sax, cascading drums, pulsing piano. The two young friends who were with me from Wellington are both good singers (National Youth Choir in their day) and went home vowing to encourage their parents (who sing in the Orpheus) to do it there. Bravo"
Diane Wales reports:
“My totally impartial niece from Wanaka loved it! Very impressed by the children. Thought they looked and sounded great. She did think the dancer could have moved more to the other side instead of always to the right. She didn`t realise there was a standing ovation going on behind her or she would definitely have joined in!”
From Pete Hodgson, MP:
“I thought it was a really good innovation and one that was mostly but not fully pulled off. The first bracket of spirituals was weak. Perhaps because they were too complicated. Perhaps because the bass in the choir was not bass enough. The Argentinian bracket was quirky. The pianist was a delight. The soloist less so.
The rest of the programme was just great. White men can't dance and white women aren't much better. But we already knew that and besides which they sure as hell can sing. And have fun. And cause us to. Lots of fun. Very different experience. Great jazz contribution.
Thank you.”
Deborah Dons reports:
"David Skegg offered his congratulations and said how much he and his wife enjoyed the concert. Graeme Perkins 'loved it'."
Pam Elwood says:
"I was in the Zimbe audience last Saturday - a most enjoyable change from the usual fare. The smaller venue was excellent, tho' the stage was a bit of a squash. I thought perhaps the children could have been dressed differently from the adult choir, to make them stand out more.
The spirituals at the beginning were a bit slow to take off, but as the choir warmed up and got into their stride and the audience responded, it was great. (I wonder if the spirituals were an appropriate choice, maybe something more identified with rest of the material would have been a better fit?)
(Haven't got a programme, so can't remember what was what...)
The offstage "alleluia" after a more energetic piece was brilliant and very effective.... as was the singing accompanied by dance...
There was a point at the conclusion of some songs when the choir really got into the performance and were clearly enjoying themselves where I began to hope the choir would start to sing Wimoweh (The lion sleeps tonight)...
The musical accompaniment was excellent too - would have like some more African drums.
I'm sure you would have got a full house for a repeat performance... maybe put it on again sometime, perhaps to coincide with the biennial Arts Festival? I'd definitely go again.
Jeanette McQuillan gives her views:
"I didn't have a particularly good seat. Right at the far left hand side of the hall and consequently may have had a distorted version of the sound and the action. However, I really loved the music, the harmonies AND the action. From where I was sitting the stepping didn't seem to be particularly coordinated but I don't think it mattered for the style of music. I think it's probably better to have spontaneous movement as long as people look as if they're enjoying themselves and as long as the clapping is synchronized. Anyway as far as I could tell most people were doing just that. There were lots of smiles!
The funeral dance was really beautiful... so graceful.
Sadly, I didn't think that the solo soprano voice fitted in with the choir at all and that moment on the CD is so beautiful in the " Aleluya, Thuma mina", it really didn't work from where I was sitting.
One advantage of being in the front row was the chance to watch the jazz group at close quarters. They were fantastic. I could have listened to Nick Cornish all night and the drummer was spectacular!!
I really liked the venue as well, and think that David did an impressive job as conductor. He was a show on his own!!!"
Donald Cullington reports:
"I was in the audience, sitting a few rows back in the centre, and was most impressed with the vivacity and confidence with which the performance of Zimbe! was imbued.
Two qualifications, which could also be points to bear in mind for the future:
1) the percussion was sometimes too loud for the choir's singing to come through;
2) the impact made by the choir was noticeably less than it would have been in the Town Hall with its raked choir seating.
Of course, these two points are linked, and I might have heard a better balance and greater choral volume if I had sat further back, but where one sits should not make much difference, and the quirks of an unfamiliar performance space have to be taken into account in order to keep every member of the audience happy."
Helen Edwards says:
"Comment from audience members:
To be honest, I cried during the 'Halleluyah'. (South African man)
I was surprised there weren't more Africans in the audience. And I was disappointed that the audience didn't get up and dance. (Zimbabwean woman)
The spirituals were spoiled by a few prominent voices.
The instrumental group held Zimbe together. The performance was respectable, despite the choir being white and mainly older. Some spots needed a bit more gusto and exuberance. The children's choir was impressive. (Dunedin man, 30s)
Personally, I'd love to sing it again. But the accompanying items need some thought so they provide a better match with the expectations of the audience e.g. items from the jazz band, or something tuneful and vibrant from the choir."
John Hale gets his high:
"First of all, the acoustics. I sat at the middle back for the Sinfonia's recent performance (Stravinsky ... Mendelssohn), and heard a big full sound, which I *didn't* hear though I was sitting just behind the conductor for Zimbe. Anyway, from that closer-up position, the singing sounded smaller. It's been my impression from hearing Messiah performances where some choruses are sung from memory, others from the the score, that the memorised ones are almost twice as loud, and full-blooded.
Bigger sound for Zimbe than for Tippett, though. The spirituals sounded a little uncertain at some openings, and unduly decorous for such music.
On the whole I agreed, for the first time ever!, with the ODT reviewer.
AND the whole evening just got better and better, through to that rousing long encore. I got my high by the end. It was a great night out."
From Rosalind Horsman:
"One friend sent by email: 'FANTASTIC!!! WHAT A BRILLIANT EVENING'
I have had several other very positive comments from friends who were there. Here are some:
'LOVED it' (that was a text message)
'We really enjoyed the concert tonight. Great toe-tapping music.'
ODT Review:
The review by Marian Poole is posted on the City of Dunedin Choir website.
Tuesday, September 7, 2010
More Zimbe! Photos
See more at http://www.nzdigital.org/Zimbe/ These lovely photos were taken by Ian Thomson (Anne's husband). Thank you Ian!
More photos here: http://cityofdunedinchoir.blogspot.com/2010/09/zimbe-concert-photos.html
Monday, September 6, 2010
Not the Zimbe! concert review! Oh, yeah!
As usual, here I am beating the Press to the post again in my not-quite-a-review of our concert on Saturday night.
(They might have had other, more important things to report this time around, unfortunately. Please consider donating to the Canterbury earthquake appeal at the Red Cross website here.)
Of course, this isn't a real review because I might be considered slightly biased about our performance, being a member of City Choir and all!
But I'm going to review the concert anyway, as usual! I wouldn't want to disappoint anyone, after all!
The poster from our Zimbe! concert.
You know, sometimes it is nice to move away from the more traditional music that City Choir typically performs.
This weekend I think we proved that a move away from the classical to the modern and, indeed, very modern, can - and does - fill seats and get positive audience responses.
Michael Tippett - Five Negro Spirituals from A Child of Our Time
First item on the program was Steal Away which was, and is, my favourite of the five spirituals we sang on the night.
Nigel sounded wonderful as our tenor soloist from within the choir, and did a lovely, tuneful job, rising above the male accompaniment in his two verses. Goeknil Meryem Biner was our professional soloist, and she also did a beautiful job as the soprano soloist.
Next was Nobody Knows, and more solo work for Goeknil and Nigel, who both did a terrific job. In the third piece, Go Down, Moses, the solo was performed by Brian, and he did a great job too, with a beautiful tone to his voice. In all three pieces, the choir was solid, kept in tune and time well, and gave a sense of control and management to the works.
Then it was By and By, followed by Deep River concluding the set. I was one of the three soprano semichorus members for Deep River, along with Lluisa and Kathryn, and we had to time our entries and arpeggios against the main body of the choir, which was really tricky! But the piece held together, and sounded good.
I'd sung a different version of Deep River many many times before, as it is a standard songbook piece for my home choir back in Australia - we sing it at pubs and publicity gigs. It was difficult for me to suddenly sing a different arrangement - and sing soprano instead of my usual alto on the work. It really twists your brain around! But I somehow managed, and just focused on what I'd recently learned (the Tippett version) instead of the arrangement I was much more familiar with.
Overall I think the audience thoroughly enjoyed the Tippett pieces. I know I did. They're lovely, are performed quite often around the world, and are a popular arrangement and work.
The main choir sounded absolutely lovely in places on the Tippett, and it was so nice to hear the deep bass notes providing a solid foundation for these pieces.
After Deep River the choir left the stage, which meant, unfortunately, we never got to hear Goeknil sing How Can I Cherish My Man? or the Canciones Argentinas. I wish I'd been in the audience, instead of backstage!
Alexander L'Estrange - Zimbe!
The second half was Zimbe! and it was FUN!
I don't know what the audience were expecting, but I bet they weren't expecting all us old codgers to get up and groove. Yet that's exactly what we did - and we had the audience grooving right along with us.
The funny thing about Zimbe! is that it isn't really African music at all. It is African music, seen through very, very white eyes and white music standards, with a strong white version of jazz running through it.
I know that I, at least, think of Zimbe! as English jazz with African words and tunes, and this is probably my best description of it.
The songs are all well-known African songs, but these arrangements sound uniquely British. I guess a composer can never really get away from his or her roots. I've certainly never heard anything like it before. I'm not sure I will again.
More than anything Zimbe! reminds me of the music of the early 1980s British pop group Madness. I'm sure L'Estrange must be a fan!
For me , Zimbe! has closer musical links to the early 80s pop sounds of British group "Madness" than to real African music. What do you think?
I'm not sure whether L'Estrange has created a new musical genre or simply manipulated some already in existence, but Zimbe! is catchy, fun and easy to sing, and enjoyable by both the audience and the performers.
Assessment of our performance
I think we did it justice. Strong movements included Singabahambayo thina (2) and Thula Mama, thula (5) - in which the childrens' chorus, a combined choir of St. Paul's Cathedral Choristers and Southern Children's Choir, did an absolutely beautiful job, supported by the semichorus and full choir.
Hamba Lulu (8) was also performed beautifully by the choir, and as I looked out over the audience I could see every single face watching attentively, entranced by the music. It was an absolutely golden moment - one of those points in time that, as a chorister, you never want to forget.
Weaker points in the performance were mainly due to pitching problems, and the choir having difficulty hearing ourselves in relation to the band.
Some of the movements where pitch was an issue were also made difficult by continued slow, descending phrases written into the music itself, and by instruments coming in after long unaccompanied choral sections. Both are an absolute killer for any but the most astute and aware singers. They're really hard work!
Also, many of us simply weren't used to working with jazz instruments and jazz tuning. Ilanga libuya, ilanga liyaphuma (6) and Wai bamba (7) suffered from this difficulty, as did Aleluya / Thuma mina (10), which was rescued by the hard pitch work of Goeknil, once again doing the solo; and by the semichorus singing offstage, who did not have the long, descending phrases to contend with.
Another tricky aspect written into the score was the large number of repeats. I have no idea how David managed to keep track of what was going on, but he did. He thoroughly deserved his extra long green scarf!
The last four movements of Zimbe! were performed largely by heart, with some help in the form of projected lyrics, for those who could see them.
We shall not give up the fight (11) was energetic and powerful, with dance steps that had me perilously close to the edge of the stage. I had my choice before me: restrain my grooving, or plunge to a thoroughly embarrassing death. I chose the former.
It was also really hard work to sing and dance, and once again helped me realise just how darned good the likes of Gene Kelly really were! I am humbled - and at the time I was also sweating a fair bit!
Siyahamba (12), another protest song, really got the audience grooving right along with us, upping the pace. Once again, the childrens' choirs were at the forefront, and they sang well and energetically, doing a terrific job. If any of them want to join City Choir in a few years, I am sure they will be welcome - they were great!
Zimbe! finished up with Freedom is coming / Hamba vangeli (13) and Njooni! Zimbe! (14), ending on a top A for we lucky first sopranos. I'm amazed we had any energy left at all, after all the clapping, dancing and stomping, but we did, and we pulled out those top A's like magic.
Summary
Overall, a fun and energetic concert, totally unlike our usual repertoire. Zimbe! proved that City Choir can groove with the best of them, and that doing modern, jazzy music can bring in an audience and be financially viable.
I'd have to say that the weekend's concert proved without a doubt that not only is there a demand for more upbeat music from our audience, but that we may be able to interest and attract new audience and members with a more lively, modern repertoire.
Choir singing isn't half-dead people singing dead people's music! It can be the most lively, community-driven, fun activity in the musical world, for choir and audience alike.
As for me, I look forward to our next jazz concert. Or maybe Broadway music - okay, that's a bit daggy, but why not? Or 60s music.
Now that would be fun!
(They might have had other, more important things to report this time around, unfortunately. Please consider donating to the Canterbury earthquake appeal at the Red Cross website here.)
Of course, this isn't a real review because I might be considered slightly biased about our performance, being a member of City Choir and all!
But I'm going to review the concert anyway, as usual! I wouldn't want to disappoint anyone, after all!
You know, sometimes it is nice to move away from the more traditional music that City Choir typically performs.
This weekend I think we proved that a move away from the classical to the modern and, indeed, very modern, can - and does - fill seats and get positive audience responses.
Michael Tippett - Five Negro Spirituals from A Child of Our Time
First item on the program was Steal Away which was, and is, my favourite of the five spirituals we sang on the night.
Nigel sounded wonderful as our tenor soloist from within the choir, and did a lovely, tuneful job, rising above the male accompaniment in his two verses. Goeknil Meryem Biner was our professional soloist, and she also did a beautiful job as the soprano soloist.
Next was Nobody Knows, and more solo work for Goeknil and Nigel, who both did a terrific job. In the third piece, Go Down, Moses, the solo was performed by Brian, and he did a great job too, with a beautiful tone to his voice. In all three pieces, the choir was solid, kept in tune and time well, and gave a sense of control and management to the works.
Then it was By and By, followed by Deep River concluding the set. I was one of the three soprano semichorus members for Deep River, along with Lluisa and Kathryn, and we had to time our entries and arpeggios against the main body of the choir, which was really tricky! But the piece held together, and sounded good.
I'd sung a different version of Deep River many many times before, as it is a standard songbook piece for my home choir back in Australia - we sing it at pubs and publicity gigs. It was difficult for me to suddenly sing a different arrangement - and sing soprano instead of my usual alto on the work. It really twists your brain around! But I somehow managed, and just focused on what I'd recently learned (the Tippett version) instead of the arrangement I was much more familiar with.
Overall I think the audience thoroughly enjoyed the Tippett pieces. I know I did. They're lovely, are performed quite often around the world, and are a popular arrangement and work.
The main choir sounded absolutely lovely in places on the Tippett, and it was so nice to hear the deep bass notes providing a solid foundation for these pieces.
After Deep River the choir left the stage, which meant, unfortunately, we never got to hear Goeknil sing How Can I Cherish My Man? or the Canciones Argentinas. I wish I'd been in the audience, instead of backstage!
Alexander L'Estrange - Zimbe!
The second half was Zimbe! and it was FUN!
I don't know what the audience were expecting, but I bet they weren't expecting all us old codgers to get up and groove. Yet that's exactly what we did - and we had the audience grooving right along with us.
The funny thing about Zimbe! is that it isn't really African music at all. It is African music, seen through very, very white eyes and white music standards, with a strong white version of jazz running through it.
I know that I, at least, think of Zimbe! as English jazz with African words and tunes, and this is probably my best description of it.
The songs are all well-known African songs, but these arrangements sound uniquely British. I guess a composer can never really get away from his or her roots. I've certainly never heard anything like it before. I'm not sure I will again.
More than anything Zimbe! reminds me of the music of the early 1980s British pop group Madness. I'm sure L'Estrange must be a fan!
For me , Zimbe! has closer musical links to the early 80s pop sounds of British group "Madness" than to real African music. What do you think?
I'm not sure whether L'Estrange has created a new musical genre or simply manipulated some already in existence, but Zimbe! is catchy, fun and easy to sing, and enjoyable by both the audience and the performers.
Assessment of our performance
I think we did it justice. Strong movements included Singabahambayo thina (2) and Thula Mama, thula (5) - in which the childrens' chorus, a combined choir of St. Paul's Cathedral Choristers and Southern Children's Choir, did an absolutely beautiful job, supported by the semichorus and full choir.
Hamba Lulu (8) was also performed beautifully by the choir, and as I looked out over the audience I could see every single face watching attentively, entranced by the music. It was an absolutely golden moment - one of those points in time that, as a chorister, you never want to forget.
Weaker points in the performance were mainly due to pitching problems, and the choir having difficulty hearing ourselves in relation to the band.
Some of the movements where pitch was an issue were also made difficult by continued slow, descending phrases written into the music itself, and by instruments coming in after long unaccompanied choral sections. Both are an absolute killer for any but the most astute and aware singers. They're really hard work!
Also, many of us simply weren't used to working with jazz instruments and jazz tuning. Ilanga libuya, ilanga liyaphuma (6) and Wai bamba (7) suffered from this difficulty, as did Aleluya / Thuma mina (10), which was rescued by the hard pitch work of Goeknil, once again doing the solo; and by the semichorus singing offstage, who did not have the long, descending phrases to contend with.
Another tricky aspect written into the score was the large number of repeats. I have no idea how David managed to keep track of what was going on, but he did. He thoroughly deserved his extra long green scarf!
The last four movements of Zimbe! were performed largely by heart, with some help in the form of projected lyrics, for those who could see them.
We shall not give up the fight (11) was energetic and powerful, with dance steps that had me perilously close to the edge of the stage. I had my choice before me: restrain my grooving, or plunge to a thoroughly embarrassing death. I chose the former.
It was also really hard work to sing and dance, and once again helped me realise just how darned good the likes of Gene Kelly really were! I am humbled - and at the time I was also sweating a fair bit!
Siyahamba (12), another protest song, really got the audience grooving right along with us, upping the pace. Once again, the childrens' choirs were at the forefront, and they sang well and energetically, doing a terrific job. If any of them want to join City Choir in a few years, I am sure they will be welcome - they were great!
Zimbe! finished up with Freedom is coming / Hamba vangeli (13) and Njooni! Zimbe! (14), ending on a top A for we lucky first sopranos. I'm amazed we had any energy left at all, after all the clapping, dancing and stomping, but we did, and we pulled out those top A's like magic.
Summary
Overall, a fun and energetic concert, totally unlike our usual repertoire. Zimbe! proved that City Choir can groove with the best of them, and that doing modern, jazzy music can bring in an audience and be financially viable.
I'd have to say that the weekend's concert proved without a doubt that not only is there a demand for more upbeat music from our audience, but that we may be able to interest and attract new audience and members with a more lively, modern repertoire.
Choir singing isn't half-dead people singing dead people's music! It can be the most lively, community-driven, fun activity in the musical world, for choir and audience alike.
As for me, I look forward to our next jazz concert. Or maybe Broadway music - okay, that's a bit daggy, but why not? Or 60s music.
Now that would be fun!
Zimbe concert photos
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| David Burchell (conductor) receiving floral tribute at the end of the Zimbe! performance on 4 September 2010 |
See more photos from this performance...
Saturday, September 4, 2010
Songs of Africa resound
Zimbe! Wow! We did it! We really pulled this one off - awesome! tremendous! That's what I think of tonight's performance. The audience loved the music - whenever I glanced at the audience I saw someone sitting there with a huge grin on the face, or swaying along with the music, tapping the programme, and of course they were just waiting for David (conductor) to invite them to clap along and off they went! Audience participation was 100%.
The choirs did well - everyone singing with energy, concentration and enjoyment. The band was excellent. Soloist Goeknil, pianist Tom and dancer Ojeya - thanks, we could not have done it without your contributions. All the hard work was well worth it. Thanks to David Burchell and our hard-working committee - key elements in tonight's success.
Can you imagine conducting something like 17 voice parts and a band all at the same time? Only David Burchell can pull that off - it reminds me of this poster we made him a few years ago as a Christmas present:
Were you there? What did you think of the performance? Let us know by posting on this blog, or leaving your comment here.
The choirs did well - everyone singing with energy, concentration and enjoyment. The band was excellent. Soloist Goeknil, pianist Tom and dancer Ojeya - thanks, we could not have done it without your contributions. All the hard work was well worth it. Thanks to David Burchell and our hard-working committee - key elements in tonight's success.
Can you imagine conducting something like 17 voice parts and a band all at the same time? Only David Burchell can pull that off - it reminds me of this poster we made him a few years ago as a Christmas present:
Were you there? What did you think of the performance? Let us know by posting on this blog, or leaving your comment here.
Friday, September 3, 2010
Freeset bags fund-raiser
Only $20 each
For every bag sold $5 goes to the choir
For every bag sold $5 goes to the choir
Freeset Bags - in business to set people free
Freeset Bags are made in Kolkata India by women learning new skills to help them escape the sex trade in the largest red-light district in Calcutta.
By working for Freeset Bags, women have an opportunity for a dignified living and the freedom to leave a profession most did not chose to enter.
Their bags are stylish, well-made, practical and eco-friendly. By purchasing a bag you help a woman on her journey to freedom. How great is that?
They are being sold on behalf of Tim and Sarah Muller, two young Dunedin graduates. They have been working with Freeset Bags since 2009.
Visit http://freesetglobal.com for more information and a full catalogue
Contact: Jenny Roxborogh - Phone 4738631
email: jenny@roxborogh.com
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