I can’t be absolutely sure, but I think I first heard this phrase at a rehearsal of the work we are preparing at the moment, JS Bach’s Magnificat.  I seem to remember that some of us from a local choir were joining a bigger choir to sing in the chapel of a local public school – this being England, of course a public school is anything but public and this one demanded huge fees from financiers, stockbrokers, country gentlefolk and the like, no doubt in exchange for a very good education for their sons and, latterly, daughters.

Curiously, this said chapel is not unlike the Cardinal Cerretti Chapel where we sing – rows of tiered seats facing each other down the side with forward facing seats in between; an organ at the wrong end of the building; but without the altar or canopy (which I have recently discovered is called a baldalcino – useless fact no 9938a) which add to the atmosphere and are beautiful but prove rather impractical when arranging a choir.

Anyway, that must be why I was reminded of the phrase last night.  Our conductor back in England was a lovely man called Murray.  In many ways he was like Carlos – modest, gentle and unflustered, a consummate musician who was never happier than when sharing his deep knowledge of the music with us amateur singers, neither talking over our heads nor dumbing us down.

At one of the early rehearsals the singing was rather tentative, perhaps a bit like us last night.  “Come on”, said Murray, “let’s have a bit more.”  Nothing happened.  Then “molto, molto”, he urged us.  Again, nothing happened.  “Can you give it a bit more welly?” was his next encouragement, but yet again to no avail.  In desperation, he uncharacteristically spoke quite loudly over the singing, “CON MOLTO WELLY!!”

It had the desired effect.  Everyone responded to this ridiculous combination of high Italian and slang English.  “Thank you,” he said.  “Now I can hear what you are singing – the right notes and the wrong ones – and I am pleased to say that there are many less of the latter than I was expecting.”

Maybe there is a message for us.  After all, rehearsals are for making mistakes – it’s only in the performances where we need to be perfect.

So, let’s carry on making lots of loud mistakes – and of course, correcting them – as we learn this exquisite music in the capable hands of our friend and wonderful musical director, Carlos.

It was a bit of a coming down to earth last night.

Sunday’s wonderful concert had been euphoric.  We had sang to great acclaim.  We had sung gustily, majoring in style, bravura and panache.  The audience loved it – and so did we.

And then last night we began to study and sing JS Bach’s Magnificat, a work of intricate polyphony by a master of the art, many would say THE master of the art.  We were all at sixes and sevens.

It was down to earth with a massive thud.

And yet – in a few weeks’ time we will be wondering what all the fuss was about.   After some hard-working rehearsals, supplemented of course by study of the score with the practice CDs and the Dropbox based practice material at home, we will be singing the work of this great master with consummate ease and great confidence.

Carlos made two great observations last night.  He talked about the last concert being one adventure, and the forthcoming concert as another.  Adventures often start hesitatingly – who was it said that the most difficult step on a journey is the first? But then there is a huge sense of achievement when the mission of the adventure is accomplished.  And by the end of last night’s rehearsal we were already beginning to get to grips with the first two choruses, a sign of good things to come.

Carlos also said that we have to “change channels” from the last adventure to this one – from a channel embodying style and panache to one based on precision and perfection.  Again, we could feel that last night as we wound our way around the tricky runs and modulating keys of those first two choruses.

On a personal note, it was great to see some “old” faces again last night; and to catch up with people who for various reasons had dropped out of the Choir for the last concert.  It was also good to welcome some prospective new members – we hope that they get as much enjoyment out of singing with us as we “old-timers” do.

I think that’s it for this week, apart from apologising for the corny title.  I could not think of anything better – sorry!

It is hard to know what to write about the Choir’s hugely successful concert yesterday afternoon at the Chapel.  After all the difficulties encountered during the preceding week, it was astonishing how everything came together to produce a concert which was evidently enjoyed enormously by the audience, and gave us in the Choir a huge sense of satisfaction.

Credit is due to many people for this success.

Firstly, to the orchestra, and especially to our wonderful Concertmaster, Catrina Hughes, for their stylish and graceful playing of the Serenade for Strings and the Schubert Mass.

Secondly, out two soloists were spot on, Ryan singing both tenor and bass solos with dignity and aplomb, and Naomi, standing in at very short notice for a voice-less Anita, thrilling us all with the warm tones of her beautiful voice.

It was a real coup to have Los Inkas join us, as they gave Misa Criolla a real sense of authenticity both musically and visually, in addition to adding some unexpected but very effective spontenaity from time to time.

Then we have to acknowledge Bethany’s tireless work at the piano both for the performance and in the extended rehearsal programme, sensing precisely when we needed support and when we could be left to our own devices.

And last, but by no means least, we salute the man who stands where the buck stops, our Conductor, Carlos.  He has been amazing once again in melding together musicians of all abilities, styles and levels of experience, to create an artistic event worthy of the highest praise.  And this time he has not only masterminded the whole concert ensemble, he has not only conducted us: he has not only accompanied us on the guitar, but he also sang very beautifully two of the solo parts.  He is a man of outstanding talent and character, and we cannot remind ourselves too often how fortunate we are to have him as our Conductor.

Tempting as it would be to rest on our laurels, we have to start preparing for the December concert next Thursday.  It will be very different – Bach, Handel and Christmas carols.

But then variety is the spice of life.

ABC Classic FM reported the other day that the Australian city with the highest per capita attendance at classical music events is none other than that remote territorial outpost which many Australians have never visited, Darwin.  Then what a co-incidence when an article arrived in my in-box from Naomi – about classical music in Darwin.  It makes for delightful reading.

With two remarkably sweet grandkids in Darwin we go up there regularly and frequently.  I go for the family, of course, but have come to love the glorious sunsets, fish and chips on the beach, the relaxed, informal ambiance, the opportunity to escape Sydney’s cold weather (but then it is so hot, I am always happy to return).  I certainly do not go there expecting to hear any form of classical music.  So I was surprised when Michael, my son, greeted me with the news that on Saturday the Darwin Symphony Orchestra would be playing at the Convention Centre, in a program that included Shostakovich – one of my favourite composers.  John is not a Shostakovich fan and had the option of staying with the kids but even he could not resist the allure of Shostakovich in Darwin! 

And what a program! Borodin’s Polovtsian Dances, A piece called ‘Wolf Totem’ by Tan Dun of the film ‘Crouching Tiger Hidden Dragon’ fame and after the interval another Borodin piece, ‘In the Steppes of Central Asia’ and to cap it all, Shostakovich’s ninth Symphony.  You could not wish for a more satisfying, coherent yet varied and balanced program.  My mind was racing with the images of galloping horses, marching armies, the ecstasies of victory, the agony of defeat.  Loud, boisterous, full orchestra outbursts, followed by sweet, soft flute melodies.  All this performed by an amateur, unpaid orchestra, conducted by its dynamic, Darwin-resident artistic director, Matthew Wood and performed in the elegant, acoustically pleasing Darwin Convention Centre. 

Was going to a concert in the Darwin Convention Centre different to going to the Sydney Opera House?  Yes, it was.  Getting there and parking was more relaxed.  I wondered whether people would show up in thongs and stubbies, the regular Darwin attire, but saw none.  The audience was as elegant and appreciative as it is here.  There were some quaint touches: one violist plays with my son in the ‘Anula Primary School Dads’ Band’; the piccolo player doubles up as my granddaughter’s piano teacher.  The resident tuba player was sick and replaced by Russell Torrance, my favourite ABC Classic FM presenter.  And the cello section leader was wearing shining, bright red stilettos.  And as if to complement her shoes, the black covered music was framed with matching red background.  They didn’t only sound great.  They looked great too.  A truly enjoyable, albeit unexpected, evening.

What a great rehearsal last night!

Somehow all the hard work put in over the past however many weeks came good.  The contrasting pieces all came together into a fabulous evening’s music making.  The Schubert sounded graceful; the Ramirez was lively and engaging, and the songs were great fun to sing with all the contrary rhythms competing with each other.

Some concerts come together gradually.  This one has struggled over the past few weeks so it was especially gratifying last night when everything seemed to suddenly come together as if by magic.

Of course we all know that if there is any magic, it comes from Carlos, ably assisted by Bethany.  Bethany has been a wonderful accompanist for us, and we owe her a huge “Thank you” for her support this session.  And we owe, as always, a huge “Thank you” to Carlos for sharing his consummate musicianship with us during rehearsals.  We are very privileged to have a musician of his calibre as our conductor.

And part of last night’s magic was having the orchestra and the instrumentalists, Los Incas, with us for the first time.  The Ramirez in particular sounded so good with their backing.

So we are well set for another great performance on Sunday.