Sheringham, Norfolk

Judith Weir

March 1, 2015

My Zen-like shot of the beach off  Sheringham  doesn’t really tell the story of the weekend I spent in Northeast Norfolk, which was pulsing with musical discourse from the moment I arrived at the B+B to find my landlady practising the euphonium. All around me people were preparing for band practice or hurtling through tunnel-like country roads to play/sing in the numerous magnificent churches which crop up everywhere, sometimes just a few fields away from the previous one.

A couple of years ago, the extremely leading composer  Michael Finnissy  moved here from Sussex (though he continues to teach his students at Southampton University). He has not been slow to make valuable musical connections within this fairly far-flung region, and I was honoured by his invitation to talk to the  Norfolk Composers’ Group, around ten strong on this occasion, who met at the home of  Tim Ambler. The Norfolk composers come from all sorts of musical backgrounds, and won’t mind me saying that they are not your usual ‘composer collective’.  Pat Hanchet, a  COMA  stalwart, set the scene by remarking that she had taken up composing when schoolteaching, because she couldn’t find the music she needed and so decided to write some. We heard and saw much accomplished music by people who had been determined to fit the demanding activity of composing into their lives, whatever else was happening in it. They have been active in producing local concerts, and issuing the CDs of these. It’s been a long time since I took part in such an egalitarian but thorough discussion about composing music, which could have lasted even longer than the three hours we’d allotted.

The following evening I again had the pleasure of talking to Michael Finnissy, this time in St Peter’s Church Sheringham. We had diffidently approached the idea of simply inviting the public to hear two complicated composers chewing the fat, and were pleasantly surprised when an intent audience of 70 or 80 people turned up and stayed the full two hours (as at the Composers’ Group, with brilliant half-time refreshments to keep us going). Intelligent questions from the audience, as so often, centred on thoughts about the place of music in British society, and particularly about the perceived neglect of instrumental teaching in schools.

This was the weekend that news appeared in the media of the gleaming new  concert hall  at the Museum of London  site  projected for the LSO/Simon Rattle. As a Londoner I would not say no to a better concert hall, although my first reaction was actually a cyclist’s – ‘Good, now they really will have to get rid of the disgusting  Aldersgate Roundabout  !’  But being in Sheringham, my next thought was   ‘Wouldn’t it be great to have a new music room, hut or anything else in Sheringham ? – it would get used a lot’. Is it so impossible to smooth out these national inequities, even just a bit?

Contemporary Music Day curated jointly
by Norfolk Composers Group and Norwich School
5 pm and 7 pm on Thursday 26th April 2018
in Norwich School’s Blake Studio NR1 4DD
This purpose of this exciting event is to combine the very best professional performances and compositions with local talent encouraged by Michael Finnissy, the internationally acclaimed composer, professor and pianist.
This involves carefully mentored outreach work leading to an outstanding high-quality experience both for the audience and the creators, and should help to “normalise” good contemporary music-making in Norfolk now and in the future.

5 – 6 pm
Michael Finnissy, interviews his friend Judith Weir, Master of the Queen’s Music.
Then approx. one hour for meal, sight-seeing, unwinding etc

7 pm
Concert of contemporary music by members of Norfolk Composers Group and well known established composers, performed by three members of the acclaimed London-based new music ensemble IXION (violin, clarinet, piano) and by local soprano Jayne May Sysum accompanied by David Morgan; also performances by Michael Finnissy of prizewinning piano pieces by members of Norwich School’s upper and lower school, who have been mentored by him on their Making Musicians days

 

Michael Finnissy

Professor Michael Finnissy

Professor Michael Finnissy started writing music almost
as soon as he could play the piano, aged four and a half. Winning the William Yeats Hurlstone composition-prize at the Croydon Music Festival led to a Foundation Scholarship to study at the Royal College of Music. Playing piano for Russian-style classical ballet classes helped the finances. Early composition teaching, at Dartington Summer School, were partnered by an old friend, Brian Ferneyhough. Member of the ensembles Suoraan and then Ixion (founded and still directed by Andrew Toovey). Attached to Contemporary Music for All (CoMA)since its inception, he has performed, and been in residence as composer, globally including Melbourne and the Gay and Lesbian Mardi Gras in Sydney. His principal teaching has been at the Royal Academy of Music, Winchester College, Leuven (Belgium), and the Universities of Sussex and (currently) Southampton.

He his also President for N.C.G (Norfolk Composers Group)

Pat Hanchet

 

https://www.impulse-music.co.uk/pathanchet

Pat Hanchet

Pat Hanchet has a BA Honours Degree in Music and a Dip.Ed. from Durham.
She has taught Music to all ages.
Her compositions are eclectic in style and purpose, from electronic through to educational. She is currently published with Phoenix Music, Arcomis and the Shanghai Conservatory of Music Press.
Her music has been performed in Norfolk, Suffolk, London, Leeds, Durham, Doncaster, Prescot, Lunel, New York, Los Angeles, Canada and the USSR.
She has toured abroad playing early instruments, some of which she was involved with manufacturing.

Martyn Craft

 

 

Martyn Craft

Martyn Craft. Born 1958. Studied composition at York University. Several pieces played under the auspices of The Society for the Promotion of New Music. Compositions have won a number of prizes and have been performed all over the U.K. Has mainly written small scale pieces but is always on the lookout for larger scale commissions!’

Andrew Lowe-Watson

Andrew Lowe-Watson

 

Musical Education: Composition with Robin Holloway and Hugh Wood.

Principal works: Marianne Dreams,  an opera;  Trafalgar 1805 for orchestra;  Elegy for the Fallen for strings orchestra; Quiet  Lanes for string quartet,;  Trio for flute,  bassoon and piano;  Telling Tales for wind band, piano and soprano;  Four Preludes for piano.

Lives in Ridlington, Norfolk