Gresham Society Soirée, Barnard’s Inn Hall, 16 December 2019

Is it really two years since the last Gresham Society Soirée? Yes. I wrote up the previous soirée thusly:

This time around, 2019, the programme looked like this:

Unfortunately, my magnum opus for 2019, which marks Sir Thomas Gresham’s 500th birthday, hence The Sir Thomas Gresham 500th Anniversary Song And Dance, was accidentally misnamed as the Sir Richard Gresham themed performance I gave in 2017. But I was able to put people right on that point pretty easily.

But before all of that, Michael Mainelli made a brief appearance to leave soiréeistas in no doubt that the show was about to begin, when he blasted our lug-holes with the sound of his bagpipes.

Michael Mainelli on bagpipes? Well I’ll be blowed!

Mercifully, Part 1 of the soirée was a highly professional and entertaining set by David Jones and Sian Millett, which gave us all plenty of time to recover from the lug-hole blasting and listen to the superb talents of this pair, who are very much becoming Gresham Society soirée favourites.

David & Sian as seen in 2017

David demonstrated his vocal versality with material ranging from lieder to Lehrer. David’s rendering of Hochländisches Wiegenlied by Robert Schumann was a particular delight, not least David’s rendering of the non-Germanic word, “Carlisle” mid song, as was David’s perennial Tom Lehrer favourite The Elements Song, which David can peform better than anyone else I have ever seen attempt it.

Sian’s talents range from grand opera to musicals. Her rendition of Mon Coeur S’ouvre A Ta Voix, with David accompanying on piano rather than the more traditional orchestra backing, brought out the beauty of the melody and the words to my ears, enabling me to enjoy hearing that aria afresh. No recording of Sian and David’s performance, sadly, but those who want now to hear the aria might enjoy the 1961 Callas recording below.

Returning to Sian’s performances, her flirty rendition of I Cain’t Say No was great fun and went down very well with the audience.

Sitting in front of me was Bobbie Scully, with whom I had, in 1984, suffered an unfortunate fit of the giggles, when we accidentally attended a stilted Rodgers and Hammerstein recital, learn more by clicking here or the block below.

For the avoidance of doubt, Sian Millett’s soirée performance was absolutely nothing like the stilted recital of the mid 1980s; the audience laughter during Sian’s I Cain’t Say No was very much WITH Sian rather than AT Sian.

The tone changes for Part 2 of the soirée, which brings amateur talent and enthusiasm from within the Gresham Society to the fore. As if to lull us all into a false sense of security, the first couple of items – Robin Wilson on the recorder, followed by a recitation from Under Milk Wood by Martin Perkins – were suitably talent-filled and dignified.

Then it was my turn.

Actually, despite appearances, a fair bit of scholarship went into my piece. I discovered, quite by chance, while researching “Ding Dong Merrily On High” last year for the Z/Yen seasonal function, that Jehan Tabourot, aka Thoinot Arbeau, was a contemporary of Sir Thomas Gresham, the former being listed as either 1519 or 1520 in all sources I could find. Tabourot (under the pseudonym Arbeau) wrote, in the late 16th century, a book, Orchésographie, comprising dance tunes and dance moves he recalled from his youth.

Branle de L’Official, the tune that subsequently was used for Ding Dong Merrily On High, is one such dance from Arbeau’s Orchésographie.

The really strange coincidence about this, is that when I discovered the temporal connection between “Arbeau” and Sir Thomas Gresham, my Googling led me immediately to Ian Pittaway’s website and this superb article:

Ian is my early music teacher. We had been talking in late 2017 about me possibly using Coventry Carol for the 2019 Gresham Society bash, but the Arbeau song and dance possibilities seemed to good an idea to miss.

Fans of Coventry Carol might like to hear Soul Music on BBC Radio 4, which was broadcast on Christmas Day 2019, but is still available through this link, which features Coventry Carol and includes Ian Pittaway talking about the history of the piece and the effect it had on him, with a bit of Ian’s rendition playing in the background.

Anyway, I did test out the song and dance idea with the Z/Yen team in 2018 with predictably hilarious results…

…and just over a year later I inflicted same on the Gresham Society – except this time I had tailored the words to suit Thomas Gresham’s 500th birthday.

It would probably be to the benefit of all mankind if the Gresham Society soirée performance of this piece were lost in the mists of time, but unfortunately Basil Bezuidenhout had an accident with his mobile phone and inadvertently video recorded the darned thing.

I must say, the singing from the assembled throng sounds rather good, which is more than can be said for my singing that evening.

For the dance, I ever so slightly simplified the dance moves from this actual facsimile of the 1589 book:

Again, Basil had a mishap with his phone and the dance is recorded for all posterity:

Not much can go wrong in a dance like that, although I notice a couple of us ended up the wrong way round with our partners at the end of the first movement. Many thanks to David Jones for accompanying us on “virginals” and to Sian Millett for her delightful rendering of my silly words while we danced.

Anthony Hodson and David Jones then briefly brought a sense of decorum back to the proceedings with a rendition of the Elgar Romance for Bassoon & Piano, but then Robin Wilson and Tim Connell led the soirée past the point of no return in the matter of decorum. Song sheets that cover some of the residual malarky can be seen by clicking this link.

No such nonsense as the above 2017 rendition of Tinniat Tintinnabulum, dear me no. This year, instead, Robin Wilson lead us in a more ballad-like latin canticle, Reno Erat Rudolphus Nasum Rubrum Habebat

In the tradition of topical comedy, Tim Connell, Mike Dudgeon & Martin Perkins rendered a French Brexit Lament – click here for the text of that pièce de résistance.

After all that, the assembled Gresham Society stalwarts needed reviving with a great deal of food and wine…

…so it was just as well that there were indeed plentiful supplies of both, enabling the remainder of the evening to become a highly convivial party. There was eating, drinking, chatting, laughing and general merriment, without, by that stage, the fear of imminent music, song or dance from over-enthusiastic soiréeistas.

As ever in the company of Gresham Society folk, a thoroughly warm-hearted and enjoyable time was had by all.

Nash Ensemble: Ravel, Falla and Martín, Wigmore Hall, 14 March 2015

This was a very relaxing Sunday evening concert.

We hadn’t been to one of these before, but it seems there is a mini tradition of the Nash Ensemble doing concerts jointly with the flamenco guitarist Juan Martín.

I vaguely recall that we had been due to see Juan Martín on a previous occasion, but the  concert had to be cancelled for some reason.

Anyway, this concert was an unusual mix of Ravel, Falla and Martín’s own guitar works.

Perhaps foolishly, I had assumed when I booked it that we’d see Juan Martín perform with the orchestra in the Ravel and Falla, but that’s not the deal with these gigs. The Nash Ensemble and the other soloist, Bernarda Fink performed the first half of the concert (the Ravel and the Falla), then Juan Martín played the second half solo.

Click here for the Wigmore Hall listing for the concert, which tells you everything else you need to know.

Lovely concert it was, lovely.

L’Invitation Au Voyage – Exploring The Music Of France And Spain, Nash Ensemble & Juan Martín, Wigmore Hall, 6 March 2010

I think this might have been the first time we saw Juan Martín team up with The Nash Ensemble at the Wigmore Hall; something they do irregularly but resolutely.

Not all the sort of music we normally seek out – Janie prefers earlier stuff, but she is partial to a bit of flamenco guitar and Juan Martín sure provides that.

I am especially partial to a bit of De Falla and there was plenty of that on show.

This is a few months ahead of the Wigmore Hall’s on-line archive resource starting, but I have found an on-line review – Jim Pritchard for musicweb-international.com – click here- that sums up the concert very well.

Goodness knows what we ate afterwards. My guess – shawarmas.