Having been thrown back into to cold hard world of a proper job, I came up with a musical one-a-day rule to keep my soul intact.
As part of their annual Choral Pilgrimage tour, The Sixteen run a series of choral workshops, based on their concert repertoire. There was a nice link this year, via John Sheppard, to a Durham Singers concert next March, so two of us went to the choral workshop at Greyfriars Kirk in Edinburgh.
Ushaw College is opening its doors to the world, and I’m involved in planning a series of concerts in the amazing spaces that the college offers. There’ll be jazz, folk and classical concerts, in the gothic magnificence of St Cuthbert’s chapel, in the theatre and in the informal, relaxed setting of the former reading room. I’m very excited about the possibilities the college buildings offer for music and about the concerts we’ve got lined up.
Music in Durham has now been going for a year, so here’s a run down of the last year’s musical highlights, and a look ahead.
Some personal thoughts about Saturday’s Durham Singers programme that were left over after after writing official publicity material.
Some notes from the Durham Singers’ workshop on William Byrd given by Robert Hollingworth, musical director of the vocal ensemble I Fagiolini, in preparation for our next concert.
Some notes from the workshop I attended on baroque ornamentation run by Evelyn Nallen for the Durham Branch of Society of Recorder Players – with useful reminders for me of what we learnt.
My thoughts on historically informed performance: what gets me excited about it, and what I think is, and isn’t, important when I listen to baroque music.