1 April 2025
Dear Singers,
GOOD NEWS re Practice Tracks!
The Hummel Mass has practice tracks at johnfletchermusic.org
I'm told it is free to use, but you can subscribe for only £4.40 for four months - long enough to get you to the concert!
The sounds are just electronic keyboard rather than live instruments or voices, but certainly helpful - good luck
WHAT WE DID ON APRIL 01.04.25
Some excellent forensic work on the Hummel Credo, the Crucifixus section (p37). We identified that before each entry, the instrumental bass line has your entry notes just a semitone below the pitch you need! I examined the full score to see if any instruments are helping you at this point. You still have to find the notes, but some of the long entry 'Cru-' notes are supported in the clarinets. We made good progress and it was beginning to sound more confident.
Regarding the CUT ON PAGE 20: Before you turn to page 26, there is a held chord for a whole bar (+ pause) in bar 119, where it says 'Fuga'. After the pause, continue in bar 173 (p26) as already instructed. This actually gives you more time to turn! But you still need a paperclip!!!
Mozart Sanctus (p62): This was nice and bold. Remember to put the 's' of 'Sanctus' firmly on beat 4 - nice and short. Bar 5 - make the end of 'Sabaoth' just one crotchet. Breathe after 'terra' bar 8, then after the second'gloria'.
Hosanna - Keep this light, almost one-in-a-bar feel. Remember to sing 'eeeenexcelsis' and not 'Innexcelsis' - think Italiano!
Mozart Lux aeterna (p76) - Sopranos keep your line elegant and smooth (like the soloist) and A/T/B give your parts a sense of line and not too staccato (partic Altos). Diminuendo in bar 64 ('pius es')
Domine Jesu (p45) This had energy and drama - we must make the dynamic contrasts - the piano phrases are hardest to control. The jumpy stuff on p47 was excellent!
Vowel modification! The basses gave us a short masterclass in how necessary this is to help good tuning. On page 50, 'promisisti' was flat. By changing the vowel sound to 'prar' the back of the tongue lifts, and the mouth opens which makes a brighter sound - and IN TUNE. Well done gentlemen, thank you - do it every time.
Two recurring issues this week were:
Lapses in familiarity with words, particularly when the music is fastish, there are a lot in a short phrase, or the syllables change in unexpected places. Get over this by speaking/whispering text as if you are singing it - start slowly and build up the tempo.
Losing the 'bigger picture' when you forget things like counting beats between phrases and missing entries, or being late on quick entries (e.g. Quamolim Abrahae). We are building skills incrementally, apply them all, don't let them go!
I am very impressed with the progress we are making - we have a way to go, but momentum is building. It is remarkable when you consider that out of 80+ singers, despite the many different levels of experience and learning styles, including those who don't read music fluently, we all have to perform to the same level, matching each other perfectly. And we will do that in our concert!
SATURDAY WORKSHOP
I am looking forward to this - a good number of singers, including visitors, who we might persuade to join us!
This is an opportunity to enjoy singing through the music rather more, tidying up as we go, in addition to learning some new stuff. We will cover the following movements, at least:
Hummel: Kyrie, Gloria & Agnus Dei
Mozart: Opening Requiem & Kyrie (and possibly final Cum Sanctis), Dies Irae, Rex tremendae, Lacrymosa, Hostias & Quam olim
Do invite friends/family to drop in and listen during the afternoon if you would like to.
WHAT WE WILL DO ON 08.04.25
Hummel:
Quoniam (p19) with cut
Sanctus (p52)
Dona nobis (p74)
Mozart:
Confutatis (p36)
Hosanna (p70) following the soloists
Agnus dei (p72)
Very many thanks for all your hard work.
Best wishes,
Peter