Sing Joyfully 2025: Mozart at the Helm

A Voice School Workshop  Weekend ~ in collaboration with Mozart 

15–16 November, The Ritchie Hall, Chandler’s Ford, Hampshire, UK

This page gathers everything from the Sing Joyfully 2025 weekend with Mozart: the 3 livestream recordings, transcript notes, and a general recap of our unrecorded Saturday afternoon work. A reference point and record for us all.

Sing Joyfully 2025 

Day 2: 

Reflections — Sunday Morning Conversation
(A behind-the-scenes discussion at the start of Day 2)

On the morning of Sunday 16 November, before the first Sing Joyfully 2025 live stream of the day, Gillian met with Sue and Sophie to talk about the previous day’s music-making. This 20-minute recorded conversation offers an open, reflective insight into how the singers experienced the session — their thoughts on Mozart’s music, duet work, accompaniment, and the process of learning itself.

There’s no video here, but what you’ll find below is the full texture of their exchange — a snapshot of shared artistry, self-discovery, and joyful collaboration.

Overview: 

It’s an informal yet deeply thoughtful conversation between Gillian, Sue, and Sophie. The tone is calm, reflective, and collegial — almost like a debrief circle after an intense workshop day. The discussion explores how everyone is feeling vocally and mentally, what’s been learned so far, and where to go next. It also contains genuine “testimonial” moments: open, spontaneous praise of the process, self-insight, and enthusiasm for continued growth.

Key Themes & Topics

1. Vocal Warm-ups and Acoustics

Sophie opens by praising the early-morning warm-up exercises, noting how they helped her adjust to the room’s acoustics and overcome initial “under-singing.” Gillian affirms how quickly she adapted once given direction. This sets the tone for a reflective, growth-focused conversation.

2. The Joy of Duet Work

Both Sophie and Sue express excitement about their duet progress — particularly the Domine Deus from Mozart’s C Minor Mass.

• Sophie speaks of the “connection” she felt even while tied to the score, describing the experience as “a big excitement.”

• Gillian links this to future performance planning, encouraging them to include duet repertoire at upcoming recitals such as Love Your Voice Day 2 with accompanist Geraldine.
  Sue and Sophie agree enthusiastically — these duets, they say, feel alive and full of potential.

3. Working with Accompaniments

Sue offers a rich reflection on accompaniment practice:

• She’s realised she has withdrawn too much from using backing tracks because of earlier frustrations (“I get tricked when the accompaniment doesn’t play your line”).

• The group discusses how to strike a balance — to learn both independence and responsiveness.

• Sue also comments on how dramatically tempo changes her singing experience: comparing the Agnus Dei piano version with an orchestral track, she found the difference “completely stunning.”

Gillian reinforces that discernment about tempo and style is part of artistic maturity — and that singers must learn to negotiate tempo with accompanists, not simply follow passively.

4. Backing Tracks vs. Live Musicianship

They explore the limits of backing tracks.

• Gillian stresses that while they’re excellent for practice, real artistry comes alive in collaboration with a sensitive accompanist.

• The group recalls past experiences with accompanists — some inspiring, others less capable — and agree how rare it is to find someone who combines competence with empathy.

• There’s a wistful moment when Gillian recalls a “singer’s retreat in 2013” and a pianist who wasn’t quite up to the task — a gentle reminder of the value of genuine musical partnership.

5. Vocal Health and Technical Growth

After a long day of singing, both singers confirm they feel vocally fine. Sue brings up another personal learning point:

• Reintegration issues: even after drilling tricky intervals from Domine Deus, they can “scoot away” when re-contextualised.

• She realises she needs to practice transitions and surrounding bars for better retention.

Gillian identifies this as a key musicianship issue — distinguishing between what’s heard and what’s seen on the page. She notes that Sue’s ear sometimes overrides her reading, causing small inaccuracies, and proposes exercises (like identifying chord tones) to strengthen her inner hearing.

6. Developing Musicianship and Self-Awareness

This becomes the heart of the discussion:

• They agree that “aural training” and “visual accuracy” are critical next steps.

• Sophie describes the thrill of observing her own learning process — noticing errors, understanding them, then repeating until mastery. She likens it to “falling into the same hole until you finally see it coming.”

• Gillian shares an anecdote from 1989, comparing old pencil markings in her own score to what she’d do now — evidence of growth through decades of repetition and patient work.

Together, they recognize that consistency and frequency of engagement, not perfection, lead to true progress.

7. Lifelong Learning and Real-World Balance

They touch on juggling music with life — raising children, work, and everyday demands. Gillian recalls practising “piecemeal” during the busiest years, using any spare moment to stay connected to music.
She emphasises the importance of repetition without ingraining bad habits, a sentiment both singers echo.

8. Looking Ahead

All agree that Sing Joyfully has given them a structure and accountability that keeps them learning weekly.
They express gratitude for the continuity of lessons and forward planning — thinking not only about the next performance but about long-term growth.
As the conversation winds down, there’s a palpable sense of motivation: both singers feel more self-aware, technically equipped, and inspired to refine their musicianship further.

Notable Quotes & Testimonial Moments

• Sophie: “I enjoyed very much the duet… there’s a sort of connection, even though I’m still so music-bound.”

• Sue: “The difference between the two performances was completely stunning — how I felt about what I was doing changed entirely.”

• Gillian: “You’re starting to pull out from the darkness the pieces that really work for you.”

• Sophie: “I’m quite excited to observe myself making mistakes and then getting it right… it’s like falling into the hole repetitively until you finally see it coming.”

• Sue: “They couldn’t have been embedded — they fled away from me.”

• Gillian: “This is why musicianship, as one acquires new skills, is great for the brain.”

These could easily form part of testimonial or promotional materials celebrating the programme’s reflective, developmental spirit.

Overall Tone and Takeaways

• Warm, trusting, collegial atmosphere

• High self-awareness and mutual respect

• Deep engagement with process, not just product

• Clear evidence of pedagogical and emotional growth

The conversation feels like a snapshot of dedicated artists in mid-journey — candid about challenges, proud of progress, and united by shared purpose.

Sing Joyfully 2025 

Day 2: 

Livestream Overview

This session deepened the work begun in Livestream One, developing vocal technique, stylistic awareness and ensemble coordination through selected Mozart pieces. The focus moved from warm-up and tuning refinement to more detailed interpretative and structural work on Ave Maria, Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, Das Traumbild, and the duet Domine Deus from the Mass in C Minor.
Participants Sophie, Sue, and virtual observer Steve built on the synergy and shared musical understanding established previously. Gillian guided them through phrasing, rhythmic detail, harmonic awareness, and performance psychology — maintaining an encouraging, analytical tone throughout.

Chronological Summary

00:00 – Opening and warm-up
The livestream begins with Gillian setting up the camera, greeting participants, and noting minor technical issues with the Wi-Fi. She explains that the focus will remain on live streaming even if the image quality drops, as audio is the priority. The group begins with gentle vocalisation, exploring early-morning resonance and breath control.

05:30 – Ave Maria – vocal balancing and harmonic awareness
The group sings Ave Maria as a warm-up piece, alternating between humming and full singing. Gillian discusses early-morning “clag” in the voice and the need to reconnect body, breath and onset. She explains how Mozart’s harmony dips “beyond the keynote,” urging singers to internalise an F major triad for tuning stability. The exercise develops awareness of tuning within pure triadic harmony.

10:00 – Standing posture and readiness
Gillian stresses the importance of physical alignment and mental alertness — even when seated. She describes sitting “as if someone important is about to walk in,” to maintain the body’s readiness to sing. This segues into further Ave Maria repetitions with improved flow and resonance.

14:00 – Memorisation and confidence exercise
The singers attempt Ave Maria without looking at the music. Discussion follows about memory, internal rhythm, and how much music is retained when visual cues are removed. Gillian encourages them to “trust what’s coming next” and use closed eyes to focus inwardly. The result is a freer, more centred vocal line. Steve, listening remotely, notes how unified the sopranos sound — “like one voice”.

19:30 – Reflection on ensemble unity
Gillian observes that Sue and Sophie are now achieving real tonal blend — the natural “one sound” that only comes with familiarity and trust. She encourages them to practise with recorded parts to continue internalising intervals and entries.

23:40 – Discussion: Mozart’s discipline and musicianship
Before moving to solo repertoire, Gillian shares her written summary on what makes Mozart a master teacher. His music “exposes everything” — demanding ease, concentration and economy. Breath, onset, line and phrasing must all be shaped by logic rather than indulgence. She describes how his writing “teaches discipline by stealth”.

30:00 – Sophie’s song: Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte
Sophie reintroduces the song, giving its full title and translation. She reflects on yesterday’s progress and hopes for more rhythmic precision. Gillian analyses the rhythmic pulse and bar structure, identifying a typo in one edition and explaining how Mozart’s writing elongates emotion through note length rather than tempo markings. Together they review bar 6 and the importance of aligning with the left-hand bass movement.

42:00 – Emotional and textual depth
They examine how Mozart reflects the text’s turmoil through rhythm and rests. Gillian highlights the phrase Ihr brennet nun — pointing out a small rest that must not be overlooked, as it signifies Luise’s agitation. She explains how Mozart writes emotional states directly into the notation — long notes for reflection, short ones for turmoil. Discussion of translation deepens understanding: burning the letters symbolises purging the lover, yet the heart continues to burn with feeling.

47:00 – Expressive re-run without accompaniment
Sophie performs sections without backing track, focusing on internal pulse and emotional honesty. Gillian encourages her to convey Luise’s mature realisation — “this is ridiculous; burning the letters won’t change the feeling” — through vocal nuance rather than gesture. Emphasis is placed on simplicity, clear articulation (Brent – Lunge), and musical truth.

52:00 – Reflection and context
The group discusses Mozart’s Lieder as a neglected body of work — miniature dramas requiring precision and emotional discipline. Gillian remarks, “Everybody needs Mozart in their lives… he gives you nowhere to hide.” They note how awareness of his life’s turmoil around 1787 enriches interpretation.

53:00 – Sue’s song: Das Traumbild
Sue begins work on Das Traumbild, revisiting it from Session One. Gillian references Paul Hamburger’s notes, recommending that all four stanzas ideally be sung but suggesting Sue focus on one or two for clarity. They discuss the poem’s imagery — a dream vision of a lost beloved — and how its simplicity contrasts with the technical intricacy of the music.

56:00 – Textual and interpretative discussion
Gillian reads the English translation, pointing out the song’s sincerity and romantic melancholy. Sue reflects on the line “Who wound into my hair the rosemary…” as evoking innocence rather than sensuality. Discussion follows on poetic tone, linguistic oddities in verses two and three, and how to handle them musically.

59:00 – Technical rehearsal and rhythmic detail
Gillian coaches Sue on her entry timing and rhythmic precision, focusing on the opening phrase Wo bist du? and the sixth leap to die Szene. She emphasises internal subdivision, dynamic control and vowel shape for the A-flat. Work continues on the “interlude” passages, aligning phrasing with harmonic direction.

1:07:00 – Building confidence and musical memory
Through repetition, Sue gains security with the intervals and phrasing. Gillian compares the climactic leap to “Porgi amor” — same sense of vulnerability and reach. Discussion on the accompaniment’s cadenza-like pauses helps Sue anticipate entries with more assurance.

1:14:00 – Repertoire strategy and comfort
Gillian notes that Das Traumbild sits well in the voice — not too low, with an elegant lyric range suitable for recital programming. They discuss where it could be placed in a programme, balancing vocal stamina and emotional pacing.

1:16:00 – Duet: Domine Deus from the Mass in C Minor, K.427
Focus shifts to ensemble work. Gillian explains key entries and the importance of staying rhythmically alert when one part begins a beat later than the other. She analyses the contrapuntal interplay, where the two soprano lines invert each other. Practice focuses on entries at bars 52–61, managing the seventh leap and breath control through long Deus phrases.

1:28:00 – Coordination and dynamic balance
Sue and Sophie refine their timing; Gillian highlights where voices cross and warns against “borrowing” each other’s notes. Both singers practise holding the line through the R vowel, which tends to destabilise tuning. By the final run, ensemble accuracy improves markedly, with real excitement and lift in the phrasing.

1:31:00 – Wrap-up and reflection
Gillian commends the group for transforming what had seemed “impossible” into a cohesive performance. They discuss contrasts between the duet and operatic writing, noting that Mozart’s sacred style demands precision and purity. The session closes with plans for a post-lunch discussion via Messenger, and Steve remarks, “It’s such a lovely duet with all the interwoven parts.”

Key Insights / Teaching Points

• Mozart’s writing exposes everything: precision, breath control, and phrasing logic must align perfectly.

• Internal rhythm: singers must maintain pulse independently, especially with backing tracks.

• German diction: consonants define expression; rests and note lengths carry emotional weight.

• Emotional containment: express intensity through musical clarity, not gesture.

• Ensemble awareness: listen horizontally — both voices are equally active and reactive.

• Edition accuracy: check scores carefully; minor misprints can distort rhythm.

• Programme planning: choose songs strategically for tessitura, stamina and pacing.

• The discipline of memory: singing without score strengthens confidence and connection.

Notable Quotations

• “Mozart exposes everything — he gives you nowhere to hide.”

• “Sit as if someone important is about to walk in.”

• “He slows things down by the note length, not by marking it.”

• “You don’t need to show us — you need to feel it.”

• “Everybody needs Mozart in their lives.”

• “It’s the intricacies that make you think — that’s where the learning lies.”

• “What started out as looking impossible is actually really good.”

Practical Actions / Recommendations

• Continue internalising Ave Maria as a harmonic and tuning exercise — practise both sung and hummed versions.

• For Als Luise die Briefe, focus on rhythmic consistency and respect every rest; rehearse sections without backing track for emotional control.

• In Das Traumbild, practise bar entries and leaps in isolation; memorise harmonic “landmarks” for confidence.

• Review editions for errors and clarify bar divisions before rehearsal.

• For Domine Deus, work from bars 52–68 repeatedly, refining ensemble timing and vowel balance on Deus and Agnus.

• Strengthen breath planning to sustain long classical lines without tension.

• Consider programme flow — lighter Lieder early, sacred works later for contrast and vocal pacing.