Category Archives: The Music
Live-A-Music (Liverpool) is planning a series of Children’s Music Workshops at Easter (Thursday 5 April) and over the Summer break. The workshops, run by fully qualified and experienced leaders, are for children aged 7-plus (younger siblings may be accepted) and will be in Mossley Hill Parish Church Hall, Rose Lane, Liverpool 18.
Purpose of the Children’s Music Workshops
The workshops will encourage children to enjoy, explore and create music, bringing together stories, music, ideas and imagination in different ways.
Every child will have something individual and personal to bring to this very positive and engaging musical process.
Venue and date/s
The first Children’s Workshop will be held on Thursday 5 April , in Mossley Hill Parish Church Hall, Rose Lane, Liverpool L18 8DB.
Further Workshops are planned for the Summer holiday period.
Sessions and times
Each Children’s Music Workshop will run for just under two hours, with a dedicated theme for each session. Sessions will be 9 am – 10.45, 11.15 – 1 pm, and 2 pm – 3.45.
Children may attend as few or as many of the sessions as they wish, within the constraints of the maximum number of places available for each workshop.
To register your interest, please click here, or via the link below.
Instruments and themes
The themes of the workshops will be varied and challenging, to engage the participating children fully.
Musical equipment will be provided for the sessions and children who already play musical instruments are encouraged to bring these with them.
The workshops will be run by two very experienced professional musicians and animateurs / teachers:
Martin Anthony (Tony) Burrage, LRAM, GRSM, ARAM and
Richard Gordon-Smith, ARCM, GRSM, Cert. Ed.
Additional teaching and professional support will also be available.
Children’s ages; parents & other family members
It is expected that most children will be aged seven or over. Parents, Guardians or other previously agreed responsible adults are welcome also to attend the sessions, and younger children may be accepted for the sessions if accompanied at all times by older siblings or an agreed adult.
The fee per child per session is £6.50. (Two sessions: £13; three sessions: £19.50.) Any available combination of sessions is
permissible. Accompanying adults and infants may attend at no additional cost.
Each child (except infants with adults) must have a formally booked and paid-for place by the beginning of the session.
Lunchtime supervision responsibilities
Please note that
*** supervision of children can be arranged separately if required between 1 pm and 2 pm ***. (Details on request.)
Refreshment and supervision arrangements for the lunchtime break are the sole responsibility of Parents / Guardians or other previously agreed responsible adults. Children may stay in the venue at lunchtime under direct adult supervision.
Refreshments during sessions
Water and juice will be provided, but children are asked to bring any other suitable refreshment / special preferred drinks for the brief interval which will occur midway in each session. (It will be assumed that children may have the juice provided, or any other refreshments, unless there are clear instructions that this is not the case.)
Parents, Guardians or other agreed responsible adults are, as above, very welcome to accompany children for particular sessions or the entire day, and may also bring their own refreshments. Tea and coffee will be provided.
To register your interest in the Children’s Music Workshops on Thursday 5 April or in the Summer break please contact us with full details (name and age of child/ren, address, name of
responsible adult contact etc) via this link.
Please click here for a report and pictures of this Live-A-Music (Liverpool) Children’s Music Workshop.
Martin Anthony Burrage (‘Tony’) is a classically trained violinist, pianist, teacher and music animateur. After graduation from the Royal Academy of Music and the BBC Training Orchestra, in 1971 he joined the Royal Liverpool Philharmonic Orchestra, of which he remains a proud member. Founder Director of Ensemble Liverpool, Live-A-Music & Elegant Music, Tony is a keen chamber musician, committed to engaging audiences and to the work of black British composer Samuel Coleridge Taylor.
The Hope Street Festival in Liverpool, delayed from Midsummer, was on Sunday 17 September. This exciting milestone in Hope Street’s history, introducing of a start-of-season early Autumn ‘Feast’ to go in future alongside the Summer Festival, is however neither the beginning nor the end of the journey.
The black British composer Samuel Coleridge-Taylor (1875 – 1912) is known almost exclusively for his large-scale work, ‘Hiawatha’s Wedding Feast’. There is however much more to this fascinating man than just one work, including the story behind his very early chamber music works such as the Opus 1 Piano Quintet of 1893.
Musicians and their instruments often have a very particular relationship, almost ‘human’ in some respects. Here is an example of a three-way arrangement which offers even those on the side-line, in this case the notoriously long-suffering ‘orchestra wife’, something uniquely special and positive.
The Strad dropped through our post box this morning, arriving on cue for our monthly up-date of All Things Violinistic (or, as they say of themselves, as the ‘voice of the string music world since 1890’).
The magazine (journal?) carried the usual range of articles about performing styles, who’s the newest arrival on the block, current techniques for making instruments, the latest string recordings, and, in amongst the other inserts, a special poster of the exact dimensions of the Antonio Stradivari violin of 1721, the ‘Kruse’. Hardly the stuff of general reading, this, but that kind of specialist detail has been the backdrop to my life for the past four decades or so. In other words, I’m married to a professional violinist.
Three’s not always a crowd
There are no Stradivaris in our house, but there is a violin which has served very well for many years. It took some eighteen months to find – it had to ‘speak’ orchestrally and as a chamber instrument, whilst remaining within the stratosphere price-wise – and it caused us penury, but it’s been a very constant companion.
Here is an almost ageless piece of ‘equipment’, already over a century old, which carries without doubt a fascinating history. (Anyone who saw the film The Red Violin, with such an impressively reflective performance by Joshua Bell of
John Corigliano’s score, will want to know more… but we’ve been acquainted with this instrument – oddly, also red – only since the era of that very different cultural phenomenon, the age of Flower Power.)
A voice with a mind of its own
I’ve lost count of the number of violins which come and go in this household – tiny (‘quarter’ and ‘half’) ones for little beginner student violinists, tough relatively modern Mittenwald instruments for open air use, intriguing painted ones for amusement, most recently a genuine rock electric model – but ‘the’ violin remains aloof from these passing visitors, a trusted and constant companion to its owner, to his partner musicians and indeed to me.
This violin met its match in a beautiful bow, and it stays here, serenely assured of its incumbency. It has seen joy and sadness, comings together and partings, sickness and health. It has travelled the world and explored the local neighbourhoods.
A welcome guest
Often, I suspect, this instrument tells its owner more about inner thoughts and feelings than could any words.
In a very different way, the film Un Coeur en Hiver, with its haunting music from Ravel’s Piano Trio, also explored the enigmas of this violinistic inner voice. For me too, though much more happily, our musical domestic ‘trio’ has offered a partnership which crosses from what can be articulated in normal ways to what cannot.
Inevitably, there are times when the violin takes first call – though I doubt any real examples of the stereotypically self-denying ‘orchestra wife’ now exist, not least because so many current players are women (and in any case, what orchestral salary supports a whole family?). When the music plays I go about my business contentedly alone, taking the distant musical role simply of involuntary audience whilst I work.
But to know so well the relationship between an instrument, a player and that person’s music – to have heard almost as though performing them wonderful works such as the Brahms’ Quintet for Piano and Strings – is a gift well beyond any singular demands of this particular menage a trois.