March 2018 NEWSLETTER
Hayes disc released
Definitely the most exciting moment so far in the journey that is IT&T was hearing the opening bars of ‘Ceremonial Oxford’ for the first time - our own tiny claim on immortality! Details of the release later in this Newsletter - do order your copies online and support an Oxford choir and orchestra performing the music of an Oxford composer which, together, we made happen.
I remember, about this time last year, looking at the IT&T diary and marvelling at the orchestra’s rate of development since 2014. I thought that, possibly, novelty was playing its part and the level of sustainable activity would settle after a couple of years. On the contrary, it continues to increase apace and I am literally in awe of IT&T’s success. As I have said before, the feeling is less that we have carved out a niche and more that we have uncovered a pre-existing niche in this extraordinary city.
It was a great moment when Aliye produced our 2017/18 brochure - evidence of increased financial resilience bringing with it the potential for forward planning. I knew one or two dates would come in after publication, but in fact, the orchestra’s season has increased beyond all expectations with a breadth of activity which has resulted in an inspiring and fulfilling work environment for the many musicians we have been able to employ. I hope our existence has also enhanced the lives of our audience, participants in our workshops, worshippers at evensong in various colleges and aspiring professionals who have played alongside us.
2018 so far...
Since our Season brochure has been overtaken by events, you will be updated in this Newsletter, but, before that, a quick recap of the last few weeks.
January and February are traditionally ‘resting’ months for freelance musicians following the flurry of Christmas concerts, but not so for IT&T. Early January saw a four-day project with the University baroque ensemble, ‘The Bate Players’, culminating with a side by-side concert in New College Chapel on January 12th. Led by IT&T’s leader, Bojan Cicic, this was a fascinating exploration of seventeenth and eighteenth century string music - Bojan’s area of expertise. As a double bass is not generally used in this repertoire, but the Bate Players include a double bass player, I was exposed to this music myself for the first time. I definitely learned as much as any of the students and felt there was a tangible exhilaration in the concluding performance. This is the sort of experience I would have loved to have had as a music student - to play alongside seasoned professionals on the same desk, but for me now, as that seasoned professional, the experience was equally valuable. It is a wonderful thing to perform beside a burgeoning musician. The professionals bring a well-honed instinct for timing, musical function and ensemble, which is combined with the students’ youthful energy and passion. The result is always stimulating and at its best you even get a sense of that elusive elixir which is Creativity.
In contrast, The Bach Project part II: the Concerto, found us playing a very different role. IT&T’s Dan Edgar performed alongside predominantly ‘modern’ violinist Alexander Janiczek in Bach’s Concerto for two violins, we also accompanied James Boyd in what some think is a spurious concerto for viola and were then joined by Natalie Clein for a performance of the Sixth Brandenburg Concerto, featuring IT&T’s Rachel Byrt alongside James Boyd as the two viola soloists. This idea of combining modern musicians and those dedicated to historically-informed performance is a controversial one, but again, as in the collaboration with the Bate Players, at its best both parties learn from and inspire the other.
On February 6th, Headington School hosted ‘A Day with IT&T’, for GCSE and A level students presented by Jeremy Summerly of St Peter’s College. The initiative of Headington’s new Head of Music, Aimee Bassett, students sang, played, listened and hopefully learned. Feedback from the day was extremely positive.
Then followed IT&T’s two appearances at the Keble Early Music Festival: Edward Higginbottom’s Abendmusik on February 22nd with a programme of his favoured French baroque music; and on the 24th a concert of Mozart’s Jupiter symphony and Requiem. This was a real highlight for me. It is rare these days for an early music group to perform this repertoire except with a choral society because the cost of the brass instruments can be prohibitive. While accompanying amateur choirs is a valued part of IT&T’s work, playing the Requiem with Keble College Choir again had the same appeal as playing alongside the Bate Players. To be immersed in the sound of those young voices, many of whom are performing the Requiem for the first time, is extremely moving.
That brings us to March and the busiest time in the baroque musician’s diary: Easter. March 4th saw a trio of IT&T musicians performing in Buxtehude’s Membra Jesu Nostri at evensong in St Edmund Hall, then the 6th was the first of IT&T’s three performances of Bach’s St John Passion, this one in Somerville College Chapel, conducted by William Dawes. This is followed by another performance of the St John on Saturday in Peterborough Cathedral conducted by Steven Grahl, who has just been appointed Director of Music at Christ Church. Our third St John Passion is on Sunday, with New College Choir under Robert Quinney (tickets available only to Friends of IT&T). We hope to see many of you there.
Our final concert in March is with the Merton College Choir under Ben Nicholas in Bach’s B minor Mass on the 25th. Please see the website for booking information.
Following a break for Easter, IT&T will next be appearing in the Holywell Music Room on April 27th in the third instalment of the Bach Project. With eminent soloists Claire Booth and Ian Bostridge this promises to be a treat for both players and audience alike.
Looking ahead, another treat for Friends of IT&T is Jonathan Rees’s performance at Worton Organic Garden on Saturday, June 2nd which forms the second part of our series, ‘All Roads Lead to Bach’. This recital will be accompanied by a delicious meal of organic produce from the garden and I know it will be a very special evening.
IT&T is looking forward to our new collaboration with the Oxford Bach Choir in the Sheldonian on June 9th, followed by another new collaboration, this time with Magdalen College Choir on July 1st.
Perhaps I should apologise for this Newsletter being so long, but hopefully, even if you don’t read it, you will enjoy with us this evidence of Oxford having taken IT&T to its heart.
Spanish Tour, Dec 2017
The Spanish have a great affection for the Messiah. They are also proud custodians of some truly impressive concert halls not just in the major cities, but even in smaller towns- the UK really has nothing to compare! Added to this, Spanish banks have a long tradition of generous sponsorship and thanks to one such donor IT&T and Oxford Voices were delighted to be invited back to Spain following a one-off performance in Barcelona two years ago.
Our first port of call was Santander in Northern Spain in early December. A choir of 250 voices from various regional choirs had been rehearsing for several months in order to join forces with us for the concert. We arrived in time for an evening rehearsal where an interpreter was on hand for Edward, whose wit was clearly translated and nuanced appropriately judging by the laughter coming from the choir at the right moments. A huge amount of collective energy and good will helped create a very enjoyable concert.
On the second leg of the tour, following IT&T’s Oxford Messiah on December 16th, we flew to Las Palmas in Gran Canaria. As a musician one regularly has to try to convince friends and family that concerts abroad are work, not a holiday. On this occasion however the trip did start off feeling remarkably like a very enjoyable winter break. Our first evening was spent strolling along the esplanade of Las Palmas beach, stopping for the occasional gin and tonic (large ones!) or tapas. The following morning a group of us took a bus up into the mountains and managed to fit in quite a serious hike, as well as lunch, before returning to rehearse in the evening. Once again we were collaborating with massed local choirs who seemed delighted to be working with Edward, and the concert was very well received.
Even when repeating one concert programme several times on tour there are always new challenges to do with changing acoustics in each venue as well as the problems encountered when musical instruments (particularly baroque string instruments) travel. The choir and orchestra took some time to adjust to Auditorio Alfredo Kraus in Las Palmas in particular: to begin with the orchestra seemed very small in such a huge space. In contrast, the Palau de la Musica in Barclona seemed relatively intimate with a much easier acoustic. This was the fifth performance of the Messiah the Palau had hosted in recent weeks, and national newspaper, El Periodico, summed it up: ‘One of the most brilliant and faithful interpretations of this monumental piece that we have heard in recent years… the precision of this choir of extraordinary quality is astonishing as is the balance achieved between the different vocal parts. No less astonishing is the balance between the choir and the orchestra, made up of excellent baroque specialist musicians.’
A delightful five hour train journey, much of which was along the coast, took us to our final destination, Alicante. We were a particularly harmonious group, many of us having worked together over the years in different ensembles as well as IT&T. Unusually there were four family pairings amongst us: two of brother and sister, and two of parent and child. In many ways IT&T feels like a family, and the close links with Oxford Voices added another layer of cohesion to the concerts as well as during the ‘down time’. It was lovely to return to the hotel after our last and very enjoyable concert to find opened bottles of Cava awaiting us. For the next couple of hours the bar staff were run off their feet while IT&T celebrated the end of a busy year and a very happy collaboration with Oxford Voices and Edward Higginbottom. ‘It’s rare to have the opportunity to attend such a brilliant interpretation of Handel’s Messiah as this…The orchestra shone throughout, stimulated by the conducting of Edward Higginbottom.’… (El Mundo)
Many thanks to Caroline Higginbottom who worked tirelessly to organize this tour. She has many years of experience taking New College Choir abroad, and although she was not responsible for young children there were perhaps similarities in behaviour - a forgotten passport here, an intrument there...!
We look forward to returning to Spain soon, as El Periodico remarked, ‘this performance is worth repeating’.
JANUARY 2018 NEWSLETTER
For many of you, a report on our Messiah in University Church on December 16th will not be news, because you were there. However, I can’t embark on news about our 2018 activities without first describing something of this day from an IT&T perspective.
Since our very first concert in the Holywell Music Room back in September 2014, when I found myself still in the box office in my lucent blue get up while the rest of the orchestra was already on stage, I have found wearing the two hats of Management and Player a difficult juggling act (a bit like that mixed metaphor). As a player of more than 20 years in the Academy of Ancient Music I am as casual as the next person about getting back to my seat after a 17 minute (not the prescribed 15 minute) coffee break and no longer suffer heart palpitations as I sit in gridlock on the M40 less than an hour before the start of a rehearsal in Waterloo. Not so at IT&T! I find myself morphing into a Miss Trunchbull-style character at the slightest sign of a laissez-faire attitude or a concert dress of the wrong hue. It’s not a side of myself I like, yet the conflict in roles has my head spinning and I seem unable to resolve this ongoing identity crisis while continuing to ‘work’ and ‘play’. I therefore decided that since I was unable to undertake the Spanish trips because of family commitments, I would step down from participating in the concert and concentrate my energies on rolling out the day like a seamless red carpet for musicians and audience alike.
In the event, that decision proved more stressful than anticipated and the carpet was decidedly rucked in places (not least when we discovered in November, that a carol service had been scheduled in University Church during our one and only rehearsal!). I discovered that one definite advantage to playing in the concert is that it effectively removes you from the melee at the door. It’s a weird experience, as an adult, suddenly finding yourself in an unfamiliar role, but one you have observed many times and thought simple, only to discover not only is it more difficult than it looked, but also that you’re not very good at it: faced with an advancing mass of audience members I couldn’t work out how to get the Returns list to work; I couldn’t remember what the person I had just sold a ticket for looked like; I couldn’t find space for everyone because despite having shuffled along the pews several times in order to work out seating capacity, people don’t come in a standard size, especially when it’s cold and their coat has come too.
The worst of it was the concert. I had never heard the Messiah before except from within an orchestra and I was looking forward to the passive luxury of being a punter. But from the second it started my ear was glued to the bassline, experiencing all the niggles of the technical aspects of playing the part with none of the highs of performing. It wasn’t that I felt critical of the performance, more of Handel. Perhaps not the fully-fledged audience version of Miss Trunchbull, but a backseat driver nonetheless. I adjourned to the Old Library in order to escape myself.
About two hours twenty minutes later I stood in the doorway to hear the Dona Nobis Pacem and the Amen. At the end of a long work, the final page always brings a sense of release - you can stop worrying how sore you’re bottom is from sitting on the edge of a bass stool for two and a half hours, soon you will no longer be shivering/sweating (it is so rare to be the right temperature in a concert) and there is a long, thirst-quenching alcoholic drink awaiting you. But without all the physical discomforts of performing, in that last five minutes there was just that sense of transcendence that Handel both intended, musically and emotionally and in which he had faith and which was greeted by a standing ovation. A standing ovation is a very moving thing: a rare demonstration of unanimity in modern life and a collective, wordless expression of something inexpressible. A fitting response to Handel’s music.
Last year, IT&T’s Messiah was the first ever concert to sell out in University Church. This year, the audience’s response has had repercusions for health and safety and may prompt the introduction of a numbering system in the church (hurray! I won’t be dragging chairs into the front row at 5.02pm). Not only this, but the concert sold out two weeks sooner than last year and we have already had booking enquiries for next year.
This phenomenon that is the Messiah happens annually and is universal. It reminds me of that tv advert I used to see urging us that ‘A dog is for life, not just for Christmas’ - I want to say that about music. People will tell me openly they don’t like classical music, but will religiously sit through two and a half hours of the Messiah without ever considering coming to another concert; like the audiences in Kenwood stoically enduring an open-air concert in the pouring rain, but who wouldn’t dream of coming into a concert hall. It must be the same for vicars at Christmas.
But the two IT&T tours to Spain have inspired us to undertake something more inclusive in 2018. We will, of course, maintain our annual performance in University Church (December 22nd at 5pm, booking opens Sept 1st), but in addition we are planning a ‘Community Messiah’ earlier in December in the Sheldonian to which we will invite the choirs with whom we collaborate, to sing alongside Oxford Voices in the ‘big’ choruses and include players from Oxybaroxy (the Oxford County Music Service’s baroque youth orchestra) alongside IT&T. It is one of the great roles we at IT&T are privileged to occupy in Oxford - that of uniting diverse elements from within the city and university and establishing something truly communal. If you sing in a choir and would like to share the discomforts of performing a piece that lasts two and a half hours, on a hard seat, please get in touch! You will undoubtedly also get to experience the thrill of being part of a large-scale musical enterprise, which is unforgettable.
IT&T’s 2018 Season has expanded considerably since we went to print in September, so please keep an eye on email updates or check the concerts page on our website. This Friday, January 12th at 8pm in New College Chapel, Chris Bucknall, Director of Music at St Edmund Hall and Associate Director of IT&T, will direct a side-by-side concert with the Bate Players and members of IT&T. Programme and booking information is available on our website. This collaboration promises to be an enriching experience for all parties, where the freshness and enthusiasm of the Bate Players meets the experience and deeply crafted approach of IT&T.
This is followed by the next instalment of Natalie Clein’s ‘Bach Project’ presented through the University Music Faculty with booking via Ticketsoxford. The concert, in the Holywell Music Room , on Saturday January 27th is an exciting collaboration between ancient and modern, with IT&T accompanying ‘modern’ soloists Alexander Janiczek and James Boyd, alongside our own Daniel Edgar. The concert is preceded by a discussion led by distinguished Bach scholar, John Butt.
February sees Matthew Martin’s second annual Keble Early Music Festival. As last year, this features IT&T in two concerts: the first, on Thursday February 22nd, an intimate Abendmusik directed by Edward Higginbottom with a programme for soprano and small ensemble; the second a much larger scale concert, featuring two of Mozart’s greatest compositions - his Requiem and Jupiter Symphony - the former conducted by Matthew Martin and the latter, by Edward Higginbottom. I’m particularly looking forward to this, because it will be fascinating to work with two such profound musicians, one trained by the other, who nonetheless have very different conducting styles. There can’t be many cities in the world with this concentration of musical excellence.
Earlier in February, on Saturday 3rd, the Summertown Choral Society and IT&T will appear in the first of two collaborative concerts this year. This concert in St Andrew’s, Linton Rd features Handel’s wonderful ‘Israel in Egypt’ - perhaps the most dramatic of Handel’s oratorios and definitely my favourite.
March, of course, brings with it Passion season and Aliye will shortly be in touch with a booking invitation for Friends to IT&T’s St John Passion with New College Choir, conducted by Robert Quinney on Sunday March 11th. To avoid last year’s confusion, please note the start time is definitely 3pm!
We very much hope to see you at some or all of these varied concerts. It is nice to feel that, as an orchestra, we are starting to get to know our audience.
Judith Evans, Concerts Manager.
NOVEMBER/DECEMBER 2017 NEWSLETTER
Since my last newsletter, ‘The Road to Romanticism’ launched IT&T’s 2017/18 Season on October 6th in the Sheldonian Theatre. As IT&T's first sortie into nineteenth century repertoire, this concert was a bit of a leap in the dark: would we be able to uphold standards with more technically demanding repertoire, given extremely limited rehearsal time? Would our audience even be interested in hearing later repertoire on period instruments and what would they make of a well-known violin concerto played on gut strings? Despite a nail-biting few weeks when it looked as if IT&T was facing financial ruin, all came good at the eleventh hour and from a personal and professional point of view, the concert was a huge success. Which means a loss of only £8,000!
On the day, Gay was elsewhere and both Aliye and I were playing, so there was more than the usual amount of extraneous pressure, including a photo shoot outside the Sheldonian and a period of about half an hour when no one knew where Bojan had got to! But during the Hebrides overture I found myself marvelling at the colours conjured by the period winds and experiencing something of the awe the nineteenth century audience must have felt towards what was new and extraordinary music of its time. I love those moments that validate what we do - Wordsworth’s ‘spots of time’, or Joyce’s ‘epiphanies’- a moment of intense focus in which you simultaneously participate but also observe yourself and understand that this is what life is about.
The one aspect of that evening I was most proud of was creating the opportunity for Bojan to play the Mendelssohn. As we all know, our society is intrigued by ‘celebrity’ and orchestras rely heavily on ‘names’ to sell tickets. But what makes a name and how do you get one? The most obvious way would seem to be by exposing the most talented performers to audiences. But this is more easily said than done, as I recently had underlined in an exchange I had with an orchestral manager. Both Bojan and I play in the Academy of Ancient Music. Following ‘The Road to Romanticism’, I suggested they should programme the Mendelssohn, but the reply was that the financial loss would be too great: to get the equation of musicians’ fees and ticket sales to balance, given the overheads of an established orchestra, you need a huge hall and a ‘name’ to fill it. This is the bottom line, literally, and it governs so much of modern life.
But if established groups won’t risk inviting an emerging soloist, then how is a soloist to emerge? At IT&T, our mission is a bit different. Because we manage the group voluntarily in order to create excellent regional work and a genuine community resource, it means we can be a bit more adventurous and actually increase the profile of emerging soloists. Bojan often describes himself as ‘a musician’s musician’, by which he means he thinks his performing lacks showmanship and is esoteric. But I think Bojan underestimates himself. There is something tremendously compelling about his performing, his sense of rhythm is irrepressible and the thoroughgoing nature of his musicianship gives a sense of rightness to his every nuance of phrasing. The Mendelssohn with minimal vibrato obviously sounds very different from the flamboyance and overt passion of some modern interpretations, but reports of the first performance indicate that it was, in fact, given without vibrato. Bojan’s performing is like a Jane Austen novel: the passion is implicit and, to my mind, more intense for being so. Indeed, one member of the audience at the Sheldonian was overheard to say Bojan’s was the most beautiful rendition of the concerto she had ever experienced. So it is not only musicians who think Bojan worthy of being celebrated.
But this catch 22 situation of a soloist having to be known to an audience before he or she can become a soloist interests me, because it means you, the members of our audience, have a great deal of power and influence.
I recently attended a conference on ‘Charity Futures’ in London, at the invitation of Jonathan Smith of Woodford Investment Management, one of IT&T’s corporate sponsors. There were three compelling speakers who presented possible versions of the world in the near future. The first, Mark Stevenson, provided a mind-boggling glimpse at the current technological advances that will become familiar to us all within the next 15 years: driverless cars; 3-d printers;energy extracted from thin air. But whatever the specifics, one thing is certain: artificial intelligence will govern much of everyday life. And that will bring fundamental change, because it will no longer be Logic that is most prized (because it will be everywhere), but Creativity, or, to put it another way, that uniquely human attribute - the Imagination.
And suddenly, our work at IT&T seemed more profound - less of a personal passion and more of a legacy for the future. We have always sought to provide for the future, with our GCSE projects, free tickets for schools, side-by-sides with undergraduates and, more recently with school-aged children, but at that conference in London, the future appeared knowable and very close and I felt optimistic that we, at IT&T, are doing exactly what we should be doing as musicians and ensuring that the future world is based on the very best of human capabilities and not on the worst.
And you, members of IT&T’s audience, have the power to make this happen. As the second speaker at ‘Charity Futures’ argued, Economics is nothing more than human nature: we are social animals and when we see our neighbour buy something, our instinct is to follow. That’s how clothes become fashionable, how kitchens all start to look the same, how recycling has become accepted and how Bojan becomes a name and IT&T endures. All you have to do is be the social animals you are: come to concerts, bring your family and friends and tell your acquaintances. If you prefer the modern version of gossip, then apply that most powerful of tools: social media. Human nature will do the rest, but if you’re lucky enough to be wealthy, then a donation would be great too.
My mother complained that the last IT&T Newsletter wasn’t personal enough, so I’m just doing what I’m told. If you are similarly biddable, there are going to be a lot of exciting concerts in the future. Thank you for your support.
Judith Evans, Concerts Manager
September 2017 Newsletter
I think the education system engenders in us a deep-seated feeling of renewal or reinvention indelibly associated with the month of September. As I write this, I glance up, periodically, at the Dorset coastline, the day before me a blank canvas of choice and potential, but increasingly aware that next week will bring with it a sea-change: days where obligations are measured by the minute hands on my watch and link together precisely like a well-constructed jigsaw with no missing pieces. In short, my children go back to school, I go back to work and we resume ‘real life’!
As ever, writing the IT&T newsletter provides the opportunity to take stock and never more so, therefore, than the September newsletter: in it we can review our progress so far; establish an idea of where we are, where we want to be and how to get there. Instruments of Time and Truth is now three years old and about to enter its fourth season. Crucially we have weathered the two year period within which most new enterprises fail - the time when novelty no longer acts as a turbo prop coinciding with a decline in energy as you raise your eyes and understand it was not one mountain you had to climb but an endless range of mountains extending to the horizon and beyond.
I think we reached that point somewhere in our second year. I remember saying to Gay, ‘I’ve got one more year in me and then I’ve got to shed this burden of responsibility’. Yet here I am still and despite my stressful commuting as a freelance musician, my neglected house and overgrown garden my faith in what IT&T is doing is stronger than ever and my determination to see it survive and flourish, intact.
Instruments of Time and Truth has in many ways achieved its own momentum - proof of a pre-existing niche into which we have settled in this unique city and testament to its high artistic standard. In fact I find this the most gratifying part of my role - responding to unprompted enquiries about the orchestra which tells me we have a following and an increasing reputation. Chief amongst these this season are exciting new collaborations with the Oxford Bach Choir (June 9th) and Magdalen College Choir (Nov 4th and dates in March tbc), our concert at The Grange on September 15th and our increasing touring activity which will subsidise our ambition of establishing a regular concert series in Oxford. Alongside this novelty we have the satisfaction of recurring associations: our annual St John Passion open to Friends at New College on March 11th; our second appearance in two concerts of the Keble Early Music Festival in February; collaborating with the Summertown Choral Society in February and in May; and returning to the Wotton Concert Series in November.
On the education side, Headington School is looking into hosting a repeat of theGCSE workshop we presented to Oxfordshire students at St Edward’s School in February this year and IT&T will appear on the next two phases of Natalie Clein’s Bach Project at the University (January and April). In addition we are launching our first baroque orchestral course for school-aged children in October half-term.
The area in which IT&T still has most ground to cover is in establishing an Oxford concert series. This is to be expected. A self-promoted orchestral concert will routinely sustain a loss of five thousand pounds at the box office even with good ticket sales, so fund-raising is a significant element of our activity. We have recently had considerable success in this direction with donations from Dustscan, Woodford Investments and the Pye Charitable Foundation, but there is always more to do as we face each new ascent in that endless mountain range. I am convinced that a large number of small donors is achievable and would secure our future and I hope everyone reading this will feel inspired to spread the word and help us towards that goal. For just £60 a year a donor becomes part of our ever-increasing group of Friends, is invited to drinks receptions at self-promoted concerts and to special Friends’ events (this year the St John Passion and a magical evening of lute music and convivial dining at Worton Organic Garden). The financial resilience resulting from having a large number of supporters would enable us to do the necessary planning to establish an annual series and also to sell these programmes to other venues which would bring in further revenue. If we could achieve a regular concert series that to me would be the fulfilment of our mission to become a community resource, supported and enjoyed by the community in which we all live.
Having said that, it is already a tremendous achievement that our 17/18 season opens with the impressive ‘Road to Romanticism’ on Friday, October 6th in the Sheldonian Theatre. I am so looking forward to working with Bojan in his capacity as soloist in the Mendelssohn violin concerto (a new departure for both him and IT&T) and to being conducted by Edward Higginbottom, a musician who justifies our choice in struggling to be musicians with his profound understanding and interpretation of whatever music he undertakes to perform.
This inspiration, to me, is nowhere more evident than in what has become our annual performance of the Messiah in University Church, this year on Saturday, December 16th at 5pm. Edward brings this music to life as no other conductor in my experience - swift, fresh and uplifting, his interpretation is a million miles away from stodgy renditions of the past. Booking opens imminently and last year we sold out a month before, so don’t put it off or you risk being disappointed.
Administratively, Instruments of Time and Truth is also evolving! For the first time, Aliye is producing a pamphlet of the entire season which will be available at all concerts to enable you to plan your own concert-going and I hope, to reinforce your commitment to supporting us.
It never goes without saying how grateful we are for your support - there is nothing formulaic or cliched about it - no orchestra would exist without its audience. Please be involved to whatever extent you like, whether simply as a concert-goer, by requesting programmes or suggesting improvements, or even by volunteering your skills - fundraising help particularly welcomed!
We very much hope to see you on October 6th and throughout our 17/18 season, highlights of which will appear in conjunction with this newsletter and on our website www.timeandtruth.co.uk since our activities have become almost too numerous to mention here!
JUNE 2017 NEWS
A period of consolidation
We are currently enjoying a lull in musical activities at IT&T since the larger scale of our performances next season has effectively prevented our putting on our usual May concert in the Sheldonian. This has provided a much-needed opportunity to concentrate on fundraising and we are delighted to have received significant contributions from Woodford Investments and the Pye Charitable Settlement. Alongside this, of course, we are constantly working to expand the number of Friends and smaller donors who are invaluable in oiling the daily cogs of the orchestra and to whom we owe our very existence. If you enjoy our concerts, do introduce us to your friends and help us put our unique stamp on Oxford musical life.
Music at Oxford debut
Instead of agonising over a self-promotion, May provided us with the much less stressful experience of making our debut for Music at Oxford with Merton College Choir and Ben Nicholas. I enjoy these concerts the most, where another organisation bears financial responsibility and my role is merely to book the players and enjoy the music, without having to worry about ticket sales. The concert, on May 6th, was a sell-out (no ticket worries after all) and featured some of my favourite choral music - Handel’s Dixit Dominus and Bach’s Cantata no 4 ‘Christ lag in todesbanden’. As ever, it was great to see our regular Friends and supporters and to be exposed to another concert-going public in Oxford - those who subscribe to MAO - and who will now know who we are.
A tremendous boost will be given to our profile by our forthcoming recordings; a collection of works by William Hayes with Keble College Choir under Matthew Martin in June and vocal music by Pelham Humfrey with Edward, in France, in July. The Keble disc particularly, with its Oxford college choir and period-instrument orchestra and composer feels like a real statement of what we are hoping to achieve in and for Oxford. Obviously it will be some time before the discs become commercially available, but we will definitely keep you posted. (I am rereading this having just completed this recording. What a discovery William Hayes turned out to be! A devotee of Handel, Hayes was the man who persuaded Handel to visit Oxford. The keyboard concerto we recorded, interestingly, was an improvement on many of the concertos Handel himself churned out at times. We also recorded extracts from ‘The Passions’ and ‘The Fall of Jericho’: exciting stuff!)
A musical soirée at magical Worton Organic Garden
I am thrilled to announce there will be another Friends’ evening at Worton Organic Garden this summer, on Saturday July 15th at 6pm. This year IT&T will be presenting David Miller in a programme entitled ‘Masters of the Lute and Guitar’. David will perform on an assortment of instruments in this ravishing setting and the evening will include organic pizza, salad and wine, all produced from the garden itself. (Maybe not the wine!) IT&T has exclusive access to a small number of tickets for Friends only at a cost of £35 per head. Please see the website for details.
Sheldonian concert opens 17/18 Season
IT&T’s next big promotion will be our Sheldonian concert on Friday, October 6th at 7.30pm. This concert will be a new departure for both the orchestra and the soloist, with IT&T taking ‘The Road to Romanticism’ and Bojan Čičič performing Mendelssohn’s Violin Concerto for the first time with an orchestra. For those of us familiar with Bojan as a great exponent of seventeenth and eighteenth century music, it will be fascinating to hear his unique take on this well-known piece, especially in combination with Edward Higginbottom’s fluidity and originality as a conductor.
Bojan Cicic: solo CD
I’d also like to take this opportunity to plug Bojan’s own newly-released CD. It is a recording of 6 wonderful Sonate da Camera by the little-known composer Giovanni Stefano Carbonelli. I am a huge fan of Bojan’s and can only say this disc is a joy, both in discovering the composer and in Bojan’s exhuberant interpretation. The recording is on the Delphian label, to find out more, please visit www.bojancicic.com .
Annual events: Wotton Concert Series and Messiah at University Church
Autumn once more sees IT&T in Wotton-under-Edge on November 18th as part of their concert series and we are very pleased to say we have secured a date for our candlelit Messiah in the University Church again this year. It will take place on Saturday, December 16th, at 5pm. Tickets will go on sale in early Autumn and we highly recommend early booking. Last year we sold out a month before the date, even after having created extra seating, which we won’t be doing this year since the experience was rather less than satisfactory for those sitting near the church’s generator! As usual, there will be an advance booking period for Friends.
This performance of the Messiah is sandwiched between two trips to Spain, the first to Santander and the second to Las Palmas, Barcelona and Alicante. It is a heartening affirmation of our work at IT&T to receive this return invitation.
Collaborations in 17/18 continue to develop: IT&T will appear in the next two instalments of Natalie Clein’s Bach Project through the University’s Music Faculty on January 27th and April 27th; we are reunited with the Summertown Choral Society on February 3rd; Instruments of Time and Truth will once again occupy a prominent role in the Keble Early Music Festival February 20 -24 2018; Friends can attend our St John Passion in New College on March 11th at 3pm (no confusion re the start time in 2018!) ; and we begin a new collaboration with the Oxford Bach Choir at the Sheldonian on June 9th 2018.
As you can see, Instruments of Time and Truth goes from strength to strength and I relish the opportunity for reflection these newsletters provide. I look forward to seeing you in the Sheldonian on October 6th.