I have recently volunteered as a helper for The Brighton Early Music Festival and it was with the usual sort of trepidation I approached my first day, wondering quite what I had let myself in for.......
My first BREMF gig was on the morning of Saturday 22nd October and excitingly turned out to be a live broadcast for BBC Radio 3 - The Early Music Show presented by Catherine Bott. The venue was The Sallis Benney Theatre located in Brighton University's College of Art. I helped out by being a general gofer, bringing in a harpsicord, putting up notices and posters and finally, before the start of the show, I manned the door, greeting and directing members of the audience as they arrived.
These preparations were pleasantly accompanied with random musical sounds coming from the adjoining art gallery where an exhibition of intriguing machines was being held. These contraptions produced electronic responses as hidden microphones and light sensors were set off by passing viewers triggering various sonic and optical devices.
The format of the show was Catherine hosting a panel consisting of the 2 co-directors of BREMF and Alison Bury, leader of The BREMF Players, discussing the history, events and workings of the festival organisation, especially emphasising the mentoring scheme for young musicians.
The make-up of the BREMF Players include regular performers from such noted bands as The Academy of Ancient Music and The Orchestra Of The Age Of Enlightenment. These performers act as mentors for younger players in the band - tutoring them in the skills of their instruments and how to deal with the intricacies involved in getting on in the Music Business. The success of this scheme was impressively proven by the performances within the talk of 2 such bands of young musicians Les Melomanes and The Musicians of London Wall, who both appear in BREMF events in the remaining weeks of the Festival.
I found the show to be both entertaining and informative, and the bands' performances to excel all expectations - they both presented several varied pieces by Enlightenment Composers which perfectlyshowed the music to be far from dry bones being exhibited in a museum, rather full-bodied living dance music capable of getting anyone's feet tapping and body swaying. All in all, it was a brilliant advertisement for the whole festival.
My final task here was to transport various equipment from this show to St George's Church in Kemp Town ready for the evening event ' A Song and Dance With The BREMF Players' - the very same outfit described above. For this performance they were to be joined by noted Soprano Julia Doyle for a programme of dance oriented concertos and arias by Bach, Lully, Handel and Corelli.
I had the pleasure of spending the afternoon watching the band rehearse these in preparation for the show. And this was truly an education - seeing them work out the logistical complexities thrown up by the composers in their various styles demanding great individual skill and cooperative strategies to bring their works to life after centuries in which patterns of living have changed so dramatically that merely reproducing the notes as they appear on the stave mayn't convey that much - they need knocking into a shape recognisable by a modern audience, and not just the cogniscenti of the early music world.
The evening's performance brought fruition from the seeds sown during the rehearsal - the pieces were displayed in all their magnificence. I found the works which most impressed were both from the quill of JS Bach - one including the soprano and one without.
The first of these was The Wedding Cantata BWV 202 and the stunning feature of this was the interplay between the singer and the obo during the recitiatives - seldom have I witnessed anything quite as sublime as this.
The other was Bach's Suite no.3 in D major BWV 1068 that features the ever popular Air [on a G-string] - which used to be jokingly referred to as the piece a cultured person could listen to without thinking of Hamlet cigars, no longer the case since the demise of tobacco advertisement. This Work was rousing and displayed the full 22 piece orchestra alone for the first time as it was joined by [valveless] trumpets and percussion and brought the programme to a stunning close.
They players and singer returned for a brief encore when the much deserved applause refused to die - after this we all trooped out into the night convinced that there's still plenty of life left in that old dog Enlightenment Music.
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