Bach to Bacharach: A Week in Waterford

There was lots to enjoy in Waterford this week, e Here is a roundup of what I heard over the last seven days. There were at least as  many events again that I missed. The Van Brugh Quartet were guests of Waterford Music Club and there was ballet and Broadway musical numbers in the Theare Royal.

Sunday. Twin Cathedrals The splendid organist, Cecilia Kehoe played Bach's G minor Prelude BMV 541 in the Cathedral of the Most Holy Trinity following 12.00 Mass. It was  a busy morning for Cecelia as she was on duty earlier at the Christchurch Cathedral organ.Next week you can hear her accompany the visiting Waterford Male Voice Choir  at 12.00 Mass at Barronstrand St.

In the afternoon, the  master fiddler, Martin Hayes  was in Garter Lane with accompanist Dennis Cahill. I like Sunday  afternoon events especially in Winter when a reluctance to leave the comfort of home on dark cold evenings is a deterent. The mood was somewhat reverent for the much lauded fiddler generally agreed to be the doyen of the  lilting Clare fiddle style. I can never hear jigs and reels without longing to see some  feet to add  dancing dimension to the tunes. Speaking of feet-Who needs a bodhran player when you have  two strong feet.  Martin Hayes provided his own percussion accompaniment by stomping both of his to  the beat throughout the entire set relenting  only for  the slow airs. It wasn't an enhancing effect. He was preceded by young Tramore fiddler, Rebecca McCarthy Kent accompanied by John Grant.  With both duos, I found myself pondering on the role of the guitarist accompanists in Irish traditional music. Cahill was always subservient to the fiddle. offering a  distinctive sparse chordal drone accompaniment.  Even in jazz, the accompanying player is indulged with the occasional solo moment .

Malcolm Proud

Monday :  There was more  Bach at the Good Shepherd Chapel as part of the Mondays at the Chapel, series under the auspices of WIT Music Department. Malcolm Proud , a major player in the international early music world played a Partita (E minor) on Harpsichord. and all for free. What a shame not to see more of the music students in attendance.

Wednesday: No Bach at the Wedenesday night Ukulele Club at Downes Pub. but the mix was eclectic  This is early days for the club, which is open to beginners and improver uke players. Fancy having a go.? We will lend you uke and teach you three chords .  More details on the Deise Ukes facebook page

Friday : The Barrack Street Concert Band paid homage to the ouevre of Burt Bacharach with a gala concert at the Theatre Royal. This was by any standards an impressive production. The  large concert band provided the music. Guest vocal soloists Red Hurley and Kathy Nugent added the lyrics . Hard to believe that it was Kathy Nugent's first performance at the Theatre Royal. There was a charming children's choir and musical director, Mark Fitzgerald  paused in his baton duties to offer a lovely instrumental version of Alfie on fugelhorn.  (Oddly enough there was just one duet as an encore.)  Bravo Mark and BCB. So proud of ye!

Gig of the Week

Further on down the Mall, it was cheering to see two new ventures opening this weekend.  We were greeted by owner Trevor Predergast for a post show beveridge at  new tapas bar The Olive Tree and a  decent live band, Thank Funk were on the platform at the official re-launch of the Reginald Nightclub.  The band made up of music students from WIT were energetic but were let down by a lack of resolution in the sound system. Another way of saying -It was too loud. But I would say that wouldn't I There was a mix of age groups as punters looked in to relive their younger Gig dancing days.

Saturday: We started the week at one cathedral and finished it another. Both were designed by the same 18th century architect John Roberts  Saturday was devoted to the beguiling melismatic world  of early chant and song at a workshop facilitated by Hannah Fahey of vocal group Sionna . The event was part of the Cathedral Arts programme at Christcurch . Music though is  all about context and I felt the event would have benefited from being a attached to a  liturgical matins or evensong service.

      Gig of the Week The Songs and Music of Burt Bacharach Barrack Street Concert Band at the Theatre Royal



http://www.spectator.co.uk/features/7764343/a-hymn-to-the-organist/

Music Education Matters: Putting Music on the Curriculum

Students in Ennis NS at their first violin lesson 

I was privileged to be invited to offer some thoughts on the state of music education in schools and my article appeared last month in the Irish Examiner . You can read the full article here .




The Journal of Music posted a link to the article and added some further comment, picking up on the reference to the suggestion that the GAA school sports programme might offer a useful template . You can read that piece here. Here is the link to the GAA website outlining their schools programme




The Journal of Music points out that there is a national programme of music education launched in 2010 -Music Generation. While I am aware that the programme is being rolled out, I did not refer to it as I am commenting on what I see in my own experience. In the four counties I have recently worked in, there is no Music Generation programme . In Clare, there has been much discussion about the application process and two exhausting and unsuccessful applications  and another pending but as yet no funds. The process of pitting counties against each other in rival bids to secure funds seems to me unseemly and counterproductive.




At the initial briefings on Music Generation in Ennis, it was stated that music education in state primary schools would not come under the Music Generation umbrella. I note from statements by the Dept. of Education, that that approach has softened and indeed the Department is now saying that Music Generation programmes can happen in schools . This is a response from the department press office on a query relating to music education provision in schools

    '  Music Generation, through its work with Music Education Partnerships, co-funds a range of access programmes, including programmes that can happen within primary school. Instrument banks are also funded. Music Generation is currently a philanthropically funded organisation, but the Department of Education and Skills will begin funding it on a phased basis from 2014. 

Applying to Music Network for funds for instrument banks in my experience is not straightforward and again pits schools against groups such as local  brass bands and private music schools. In Ennis,  applications to the Music Capital scheme by two primary schools were turned down whereas a private music school was granted funds for new instruments.

While it is encouraging to read of pilot projects here and there happening in schools,  there is a danger though that by passing the responsibility, the government can use Music Generation as a convenient excuse for not funding a basic music education for all primary school students.


I believe that if we rely on extra curricular model of music tuition without the involvement of the main players in education , the primary school system,  it will continue to be accessed by the homogenous pool of students,   not too different from the group that would avail of private music tuition in any case. To quote my own closing remarks in the Irish Examiner.  'If Ireland wants to forge a common culture of participation in the arts, we need to put musical activity on the curriculum in more than a token way for all our students and not just a chosen few.' 

Related articles  A  Quality Music Education only reaches a minority of students in British Schools, an Ofsted report has said  http://www.bbc.co.uk/news/education-24942737

Α  response http://www.jsavage.org.uk/music-education/another-spectacular-failure-ofsted-music-education-deserves-better/

An inclusive approach to developing a School Orchestra  Cathy Desmond IAYO Newsnotes

http://amusosmusings.wordpress.com/2013/11/16/ofsted-music-report-blames-everyoneexcept-ofsted/

Mighty Mighty Wexford !

I've been many times to the Wexford Opera Festival but this year I saw it from a different perspective as correspondent for The Irish Examiner. My roundup of the 62nd season is here 

Impressive as the main productions were, there was loads to enjoy at the  fringe festival. I saw two of the short works which are terrific value at €25 and if you don't like them are not going to detain you too long. The one act comedy, The Sleeping Queen by Irish composer, Balfe was given a quirky Glee Club/ Horrible Histories treatment and was pleasant enough if not compelling.


 I loved Richard Wargo's Loser's.  Director, Conor Hanratty  created a familiar stage set for the tale of small town Irish life in the 50's that is right out of the  amdram world of John B  Keane complete with pictures of the Sacred Heart and Pope John. In this work, Wargo had worried less about setting Friels' text and the results were   more engaging than his setting of Winners, an earlier work based on of another  Friel story. 'I grew up with the music of Puccini and Britten and the theatre of Rogers and Hammerstein' said Wargo when I spoke to him briefly after the performance  and all those elements can be heard to in this work. The pair of settings, Winners and Losers known as Ballymore should make a very suitable work for an Irish company.  This work was one of my highlights of the festival. I was  sorry to miss Back to  Titanic, a nostalgic selection of music played on the ill fated liner. It featured Kelley Lonergan, a young singer from Clonmel one of the rising stars of the Irish operatic scene. I interviewed Kelley and hope to bring that interview on a later post.

Author Eoin Colfer 

The short works were again staged in the Presentation School Hall. This space leaves me cold. I don't find it convivial The seating is not comfortable and the view from the back of the hall is not great. I have seen local musical societies work harder to make this sort of space work. Temporary tiered seating is surely worth considering and why not a  display of old programmes and posters to liven up the foyer / school corridor.  Without the short works going on in Whites as in former years, that hotel does not  appear to be the lively festival hub it once was.

The weather was mixed this year. Racegoers had to brave the rain and wind but there was a lovely fine evening for the opening fireworks. The poetic litany in Eoin Colfer's launch speech must have included every denizen of the town and is powerful stuff. You can hear it in this link here. 

There is no doubt that Wexford do what they do very well indeed.  It might not have the heat of an Aix en Provence but it does have charm and a great range and breadth of events. I met many patrons from overseas who travel here year after year drawn by these elements . Some I spoke to expressed alarm about  the bringing forward of priority booking dates for the 2014 festival.  Prices for the main productions may not be high relative to London prices at €100 or so  but are relative to other arts experiences in Ireland.  Whether they can attract sufficient Irish patrons to ensure the near capacity houses they need to be viable will be a challenge.

listen to ‘Pete Lennon at Wexford Opera Festival’ on Audioboo

listen to ‘Helen Gaynor at Wexford Opera’ on Audioboo

Superior Scottish Ensemble at Christchurch

Southern Tenant Union Folk are  back in Ireland for  a hectic week long tour.  Above is the Scottish ensemble's appearance on the Late Late Show, that made me sit up and pay attention. I saw them last night at Christchurch Cathedral, Waterford.

The six gentlemen dressed smartly  in suits made an impressive tableau gathered around a retro style microphone. The sound was an inventive  blend of  bluegrass with other styles.  20th century film music is cited as an influence and there is a strong seam of Cuban roots music in there too. The playing is highly accomplished and the vocal blend is satisfying. The songs are intelligent, thoughtful, tending to the dark side,  many with a  political edge.  'If we only sing songs about whiskey and riding box-cars, we're finished said chef d'équipe , Pat McGarvey. You can hear his interview on the Andrew Marr show below.

At the close  the band abandoned their altar position and moved to stand and sing among the pews. It was thrilling somehow to hear musicians without the veneer of amplification however subtle. Given that audiences for live music in Waterford are sometimes less than 50, maybe we could have a little more wireless performance practice.

I am not sure whether it was the acoustic or the Scottish accents, or the amplification, but I struggled to catch the spoken introductions.   But I am very glad to have seen them. It cannot be easy travelling the length and breadth of Ireland on the darkest days of Winter.  If they were disheartened by the paucity of the attendance scattered in the pews, they didn't show it. They are brave to undertake it and worthy of our support. Tour dates are below.


Venue Notes : Christchurch is a very  elegant 18th century ecclesiastical space. With the organ pipes gleaming under the bright lights of crystal chandeliers, it didn't seem quite an appropriate setting for the style of performance, even when as well executed as it was last night. PR seemed minimal . I couldn't find a reference in local press and I learned of the gig from a poster  in a local café. 

Thur 7th Nov Bangor Town Hall, Bangor, Co Down
Fri 8th Nov Christ Church Cathedral, Waterford City
Sat 9th Nov Seamus Ennis Cultural Centre, Naul, Co Dublin
Sun 10th Nov Murphy’s Bar, Thomastown, Co Kilkenny
Mon 11th Nov Crane Lane Theatre, Cork City
Tues 12th Nov St John’s Theatre, Listowel, Co Kerry
Wed 13th Nov Allihies Copper Mine Museum, Beara, West Cork
Thur 14th Nov De Barras, Clonakilty, West Cork
Fri 15th Nov Carnegie Arts Centre, Kenmare, Co Kerry
Sat 16th Nov Upstairs At Dolan’s, Limerick City

The Bunmahon Copper Miners' Story

Guest Blogger: John Hartery
On Saturday at the Imagine Festival there was a screening of the film about the Bunmahon copper miners. The movie is a community endeavour. The outcome  of a project involving the Copper Coast organisation and the residents of the coastal village.

The mining industry in Bunmahon lasted from the 1840's till the latter part of that century. Workers climbed down ladders and out under the sea bed and mined dreadful conditions. Women and children were also employed to break up the mined rock to extract the ore. The finished product was carried away on schooners to smelting works in Wales. The mines of Bunmahon are an important part of our history and the film gives us a a vital insight into the lives of our Déise forefathers

Tina Keating from the Copper Coast Geopark outlined the social conditions prevalent during the mining period. The village swelled to a population of over 3,000 during production. Afterwards, many miners migrated to Montana and mined there.
Sean Corcoran and Angela Mulcahy who made  the movie were on hand to describe how it was shot.
It's a short film of approximately 15 minutes and will be of interest to social and local historians and those in the education sector. A further 5 or 6 shorter documentary pieces accompany the main work.
Further details of the movie can be found here . It can be seen again at the Waterford Film Festival on 9th November
JH

This YouTube clip illustrates the working conditions (no connection to the film)

Poole's Pictures Draw The Crowds 100 Years On

Booking office for British railway now Jordans American Bar the Quay Waterford from the Poole Collection


By Guest Blogger: John Hartery

On the Saturday of the bank holiday in the Granville Hotel those wonderful people from the Imagine Festival Waterford put on a talk about the Poole photographs from a century ago. I thought I'd ramble in and be amongst a handful of hardy afficionados part social history, part photographic buffs. I was completely wrong. The joint was heaving and every available perch was taken as an overflow of all ages snaffled the last few spots on the floor.

Who was this Poole guy and why are folk still keen on his work?

Tramore photographer Margaret O'Brien Moran  is now working on the Poole Collection a treasure trove of original photographs from the late 1800's / early part of the last century. A.H.Poole was originally from Somerset but moved and lived in Waterford in 34 The Mall, a glorious building next to the one of T.F.Meagher fame. O' Brien Moran explained the work underway to digitise the original plates by the National Library of Ireland and the National Photographic Archives. The rich history that can be gleaned from the reverse of the original photograph was  illustrated and the archive also include's Mr Poole's original accounting records.  The collection is believed to be the largest collection of identifiable portraits in Ireland. Contributions from the floor discussed the quality of the photographs and how they stand up to scrutiny in micro-close up to reveal the content of posters, newspapers etc. Curiously,  it was revealed that Mr Poole left a note for his family in 1929 'going to Tramore' and was never seen again.

The  Poole archive is available for viewing  here.

Diffused bomb in Granville Hotel Waterford 1922 from Poole Collection.

 James Doherty delivered a talk in the second half of the event as plans for a walk around scenes from the original photographs were shelved for weather  and the now legendary Quay  roadworks reasons. This part was fascinating as Mr Doherty showed some of the Poole photographs which are available in high quality on Flikr - sample here. Many of the pictures have annotations from viewers that adds to our knowledge.

The Siege of Waterford was discussed and photographs used to illustrate the events. On the right  is a picture of Free State soldiers with a diffused bomb. You can read more about the events of the time and the Siege of Waterford here

Chamber of Commerce, Waterford 1930 from the Poole Collection

However, it seemed it was the  shop fronts, interiors and street-scapes of the last century in Waterford city centre that drew the most attention and interest. It is not evident now that the wonderfully decorated shops from Poole's pictures are matched by today's stores.

The extraordinary merchandising of Jones, chemist The Quay, Waterford from the Poole Collection

It us understood that the National Archives intend arranging an exhibition of his work next year. Let's hope that the people of Waterford can see the original pictures  in his hometown.

A wonderful event and well done to everybody involved.

JH

End Of Term a play by Noel Kelly

By Guest Blogger John Hartery

Nestled away in the middle of the Waterford Imagine Festival was a little gem. We arrived just in time to get the last available tickets on the Friday night of the run.  Noel Kelly is well known to local theatre-goers and his latest offering is a fine piece. End Of Term is a short play about a middle-aged man who wonders 'have you ever asked yourself, is that all there is to life?'. It's a two-hander with Brendan Payne playing the part of Michael and Lorraine Murphy as  Maura. The production group is the local Stagemad

The play is lightly-rooted in Waterford with a nod to the high water (1959) and low water (2008) points  in local sport. It is recalled that the couple's first date was to the Granville where she drank Stag.The format of the early part of the work is a series of monologues as we see their marriage gradually break up. There's a fling for Michael with his fellow teacher and the impact of the recession on the Maura's business.  Payne delivered an outstanding performance and wonderfully traced the lead up to the mid life crisis he faced. Murphy was a perfect  foil and wholly convincing as the wife at a loss as her husband reassessed  his life.

The final scene from Payne was powerful and memorable. The play was directed by James Power with Liam Fitzpatrick as stage manager and Richard Collins subtlety  looking after the sound and light.  Well done to all involved!

Venue Notes 
 The Central Hall venue is a wonderful addition to the city's theatre space and plaudits to Red Kettle for its efforts to do this. Friendly and helpful staff added to the occasion. We look forward to return visits. 

Love Hat: Il Capello di Paglia di Firenze opens 2013 Wexford Festival

The 62nd season of opera productions at Wexford opened in fine style with Il Capello di Paglia di Firenze, a fizzy light hearted comedy from the 20th century Italian composer, Nino Rota, better known for his film scores than grand operatic works.

The farcical plot hinges on the frantic road trip of a desperate groom followed by his unsuspecting wedding entourage in the hunt  for a very particular style of straw hat which he must be replace exactly to avert a duel and be reunited with his bride. This was great fun, a stylish production delivered with panache by the large cast, chorus and orchestra.
What were the elements that added to the sugar rush of this entertaining theatrical confection.

The Music: The music isn't so much in the style of the his 20th century film music but more retrospective, a sort of mélange of  Rossini  and Verdi. Throughout, the Spanish conductor, an assertive Sergio Alapont set an energetic bouncy pace that didn't let up . The orchestra led by Fionnuala Hunt responded with verve, the  strings veering from strident heavy vamping rhythms to lush sweeter sonorities and  there was some lovely solo work from solo wind timbres.

The Cast: Among the large cast, there was a native Florentine tenor with Filippo Adami replacing Davide Giusti originally cast. While all made the most of the comic element of the roles, two performances stood out for me . Claudia Boyle as Elena looked and sounded stunning . Filippo Fontana as jealous husband Beaupertis brought an extra edge to the madcap proceedings .


The chorus: The show was stolen by the Ladies Chorus. The catchy Milliners'  chorus at the opening of Act Two was the highlight of the show with the pizzicato string bass  accompaninent perfectly complimenting the on stage sewing motions .


The Costumes. Director Andrea Cigni sets the action in 1950's Paris. The bright colourful dresses and morning suits evoked the era of the MGM musical world of Gene Kelly and Audrey Hepburn.


The Set: The set was relatively unsophisticated . The heavily raked stage meant we could see the large cast easily but did give you the feeling that the action was happening on the rooftop . The painted billboards reinforced the Hollywood Musical theme but the staging didn't help to convey the sense of the action moving around to different locations and was for me the least satisfactory aspect of an otherwise sparkling production.

The Horse of Course Finally -that white horse I expected to see galloping across the stage in Maria on my last trip to Wexford in 2011? --- Well, to cap it all.  a white horse put his head in for a cameo appearance at the finale.


Related Posts Maria Wexford  2011 

Cat and Chris Wood: Tuesday at Imagine Waterford

In Waterford, the word 'cat', used as an adjective, is  local slang-a derogatory term casting aspersions on the merits of an event .   So with that unpromising subliminal association, combined with a more overt connection  with that  of a certain well known musical theatre show in my mind, I went along to the Central Hall to see  'Cat',  a theatrical presentation offered as part of Imagine Festival. I am happy to declare that the deft one hander  directed by Jamie Beamish was anything but 'cat ' . Au contraire. Cat was was an excellent, well paced  and highly entertaining yarn. From the opening I was drawn in  to empathize with the likeable  theatrical animal , Dave, a wanabe Jellicle cat by the engaging performance of  Richard Hardwick, who seemed at first glance to have arrived direct from the West End .  But there is a sting in this tale...   By all accounts, Cat went went down a treat at the  Edinburgh Fringe . Last chance to catch it in Waterford tonight but expect to see it popping up at a festival near you. Here is the blurb-

'CAT is the story of “Dave the Cat” and how he was sacked from the original production of that famous musical “Cats” on opening night, and has never quite recovered. The show lets us into a world of backstage drama, romance and intrigue, and features songs supposedly “cut” from the original musical by Andrew Lloyd Webber (but don’t tell Andrew). Seating limited so book early. Not suitable for under 16′s.'


Later in the evening further down the Quay , the mood was thoughtful as English troubadour, Chris Wood had his audience in the Dooley's Hotel enthralled. with his distinctive mellifluous low tones. In his poetic lyrics and rueful asides he offered sharp observations on life in his well crafted grainy songs.

Little John Nee brings Sparkplug to Imagine Waterford

Little John Nee 'Sparkplug'

Waterford is a hive of activity  in October during the Imagine Festival. The impressive range of events take place in venues around the  in the smaller spaces of the South Eastern capital. The was an invasion of  eminent trad folk from Clare with  members of the Cotter clan , virtuoso fidlder Maeve Donnelly and scholarly concertina player Tim Collins  all in town as part of the John Dwyer Trad weekend. On Saturday night Little John Nee brought his latest theatrical invention to the bijou theatrical space of the Central Hall Waterford. The set was an intriguing  cornucopia of bric a brac , pallets and the accoutrements of a vintage car mechanic. To the forefront were a consort of ukuleles and various other musical instruments. This is the third of Little John's shows that I have seen.  His collaboration with Raymond Keane of Barabas in Johnny Patterson, The Singing Irish Clown produced a memorable theatrical experience that had a particular resonance to audiences in Ennis where I saw it. The Derry Boat mined the experience of  Northern migration to Scotland . Yet again the the versatile and unusual artist drew us in to the beguiling world of a character on the margins of society inviting us to empathise with a skillful blend of humour,  pathos and melody. Before loading up his van and heading West, Little John spoke  to me about his latest creation, Sparkplug,  You can hear that interview here

Little John Nee at Red Kettle HQ

listen to ‘Little John Nee’ on Audioboo

On the night he performed all the parts himself using the eclectic range of instruments  and loop pedals to set up an inventive aural backdrop of ostinatos adding to the melodramatic effect. You can here a version of the show with other actors playing some of the parts in this RTE Drama podcast  http://www.rte.ie/drama/radio/genres-comedy-sparkplug.html

To paraphrase the author,  there is no better way to spend a Saturday night than in the company of a Rockabilly Conceptual Artist . Have a listen and see what you think.

Related posts http://cathydesmond.blogspot.ie/2013/02/the-happy-prince-donegal-oscar.html