Introit – Thank you everyone who had a hand in organising the Ceilidh last Saturday, it was brilliant and a long overdue opportunity for us to meet for a different kind of fun! Good to see so many choir members and partners there; I hope we can do it again soon.
Thanks too for my wonderful present – Peter’s Music Tree – a specially commissioned sculpture. I was proud and humbled to have 20 years of conducting the Society honoured like this, and had a great evening. Congratulations and thanks to faithful singers and a strong team – particularly Bernard and Shauni – for making CNCS the friendly and high-achieving organisation it is! We love what we do and there is so much music out there that to quote Siegfried Sassoon “…..the singing will never be done.”
Wednesday’s rehearsal was tough and we covered a lot. Qui tollis – the notes were learnt well and the next challenge is to get the right style – legato and very expressive. I imagine this movement as a slow motion relay race in which each voice hands the baton to another voice and the music is a continuous line. The only bars in which everyone sings the same rhythm together are at the end (bars 47-50); very important that the voices blend – matching vowel sounds and expression. Remember 2 things: 1) Shape the phrases so we get Qui tollis pecata mundi (lean on ‘to’ and ‘ta’) and Miserere nobis and deprecati onem 2) always crescendo slightly on the long syllables: pecaaaaata and oooonem so that music grows towards the suspensions (mostly coming after a tied note). Enjoy!
Cum sancto spiritu – Bravo! This is a long movement but broken down to its component parts, which repeat in some way, it doesn’t seem so daunting:
Bars 1-21 – Introduction opening fanfare (in Gloria Dei Patris motif appears a little later on and ‘pre-echos’ the fugue tune)
Bars 21 – 37 – First appearance of semiquaver runs and sequence patterns (First motorway junction bars 34-37, take the exit!)
Bars 37-64 – Fugue tune introduced
Bars 68-81 – Repeat of opening motif and sustained chords – choir sings in rhythmic unison
Bars 81-111 – ‘Development section’ where the fugue tune and other motifs are thrown around all voices (see bars 85/6 as an example)
Bars 112-end – Return of original motif leading to a ‘coda’ featuring the runny stuff from page 97 which climbs up & up on page 112 towards a thrilling finish!
Keep the singing very light and nimble – it makes life so much easier.
We also sang through the Sanctus, Pleni sunt & Osanna at the end – along sing, but they came together well. Please work on the sections you found troublesome. Thank you.
What we will do on 18.11.17
The AGM will be held at 8.45 with a proper rehearsal from 7.30 prompt
Credo I & II