SWEMF Workshop for singers with Ben England BEM
1st February 2025 – West Leigh Infant School, Backwell, North Somerset
This was the third workshop to be directed by Ben England in Backwell, based on Henry Purcell’s music. The school hall/gym may not give the flavour of the Chapel Royal or St. Mark’s Venice, but it does provide a large space with a reasonable acoustic for voices and instruments. It is warm, there is parking and Backwell is well served by train and bus. Ben reminded us that the last time we had met in this venue, in March 2024, it snowed!
Almost forty participants, some travelling from the north and south east, gathered to work on the Symphony Anthem “Rejoice in the Lord Alway” by Purcell and Beatus Vir by Claudio Monteverdi. Beatus Vir is a motet which sets Psalm 112, scored for six-part chorus and soloists, with organ, basso continuo and two obbligato violin parts. It was written around 1630 and contrasts pairs or small groups of voices with the weight of the full chorus. We were fortunate on this occasion to have a good number of tenors, which was of great benefit in the Monteverdi. Our instrumental group comprised five violins, a viola, ‘cello and keyboard. The players were provided with some of Purcell’s short pieces, namely a very lively Hornpipe “Hole-in-the-Wall” from Abdelazar and two Chaconnes, the familiar G minor and also one from King Arthur. Ben managed to work on these by sending the singers and instrumentalists for lunch at different times, an excellent idea to keep everyone focussed as he worked with that section.
Ben introduced Purcell to us with a précis of his very short life and talked a little about his style. We looked out for “false relations” (“you are not my real uncle!”) and “anticipations” where clashing notes may pass in a flash, providing a little “lemon juice” as Handel learnt from Purcell. Ben is a very experienced vocal coach and is able to give singers a huge amount of advice on technique. “‘Rejoice’ is a vertical sound. With diphthongs you should delay the second sound as long as as possible”. “If repeating a note, crescendo through so that when the note changes it is a pleasure”. He encouraged both singers and instrumentalists to move their bodies and “keep partying; there ain’t no party like a SWEMF party!” He does not criticise and is invariably encouraging. If he does want to make a negative comment he wraps it up in a joke: “Basses, I noticed that everyone was wanting either side of them to sing the top D. IT IS ONLY A C SHARP!”
We looked around the room as Ben described the “chapel acoustic” of St. Mark’s. The singers needed to employ “bright eyes” and use consonants to tell the story with gravitas and power. Instrumentalists needed to exaggerate the smooth sections and double dotting. Fast notes must be infused with energy and repeated notes are “a gateway to beauty”. The singers must be careful with the word “rectorum” and put the emphasis in the right place (a few sniggers were heard)! We were told to notice the octaves which are rarely sung by sopranos, but frequently by basses. “Basses, heads up – you are in St. Mark’s!” “Orchestra, the semiquavers are just decoration”. “Sic transit Gloria”; “anyone here called Gloria?” “Gloria, go and sit in the van!!”
Well, luckily there were no Glorias but the rest of us had a fun and stimulating day and I was so grateful to Ann Heymans for inviting me back from Horsham for the weekend to enjoy it.
Heather Gibbard