edmund (eddie) evans - Treorchy Male Choir

Excelsior for 2007 (Smaller):Excelsior for 2005 (Mac).qxd 4/8/09 16:54 Page 16
16 EXCELSIOR
affected the evening recording session with the Cory Band at the Brangwyn
Hall. It was an extremely cold night in the depths of winter, and the bandsmen
were forced to keep their instruments warm by means of wrapping them
in mufflers, jackets and even (in the case of the basses) overcoats. This
seemed to do the trick – until we came to record the arrangement of ‘Battle
Hymn of the Republic’ – everyone had forgotten to protect the tubular bell -
which came in with a sonorous, but FLAT, “boing!”
In a hall at Llandrindod Wells, I was horrified to witness part of the staging
collapse during the performance; two rows of the “noble army” of Second
Tenors disappeared before my very eyes – but, to their credit, they never
stopped singing! At the beginning of a concert in a chapel at Blackwood I suffered
the mortification of ascending the specially-constructed rostrum only to
hurtle down again to the floor six feet below; the carpenter had omitted to
secure the wooden planks to the metal structure. I emerged slowly from the
wreckage to conduct the concert relatively unscathed – except for skinned
shins – and severely wounded pride! While preparing for a concert in the glorious
setting of Birmingham Town Hall, Jennifer, Mary and our guest soprano
soloist were extremely embarrassed by a quartet of teenage “Peeping Toms”
ogling through the windows of their dressing rooms. Choir Secretary Donna
Griffiths immediately ordered a detachment of ‘bruisers’ from the Bass section
(but also including a well-known ‘firebrand’ from Second Tenors) to deal
with the problem without resorting to the local constabulary. Rough justice
was meted out to the young offenders … a few “clips around the ear” followed
by a thorough “ducking” in a nearby fountain!
The ultimate disaster occurred in Brecon Cathedral during a recording for
the BBC series entitled, ‘Glory, Glory.’ We had almost achieved one of THE great
performances of that poignant Negro Spiritual, ‘Where shall I be?’ with sublime
singing from Harry Price and the Choir, equally fine harp playing by Jennifer
and superb technical work by the cameramen. I say “almost” because the final
pianissimo chord was ruined when one of the floor managers flushed the lavatory,
the sound echoing throughout that fine mediaeval building, ruining the
performance. The subsequent re-take, though good, was not in the same class.
During the interval at our Diamond Jubilee Concert in the Millennium Centre
I reminded one of the guests, Geraint Stanley Jones, who had produced that
programme, of that particular event – he remembered it well!