A Day In The Life of Shelagh Mazey

For years I’ve been a frustrated story-teller, never having the time or peace to be able to concentrate and hurtling through life from one crisis to another, but now every day is like a blank page, here in my thatched cottage in Somerset.

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I met Margaret Graham years ago, at a writing circle in Yeovil. We have been friends ever since and good grief, the adventures we’ve had, as awe snatched moments from the home-front. I remember with fondness a trip across Ireland on a coach, enlivened by two America Baptist Ministers. We’ve seldom laughed so much, alongside absorbing the history of the place for a book Margaret was writing. It was here I kissed the Blarney stone. Perhaps that’s where the story telling began.

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As time went on the sleepless nights with newborns; the back-breaking, lifting and chasing of toddlers; the homework of school years; the endless chauffeuring of teenagers, and the frantic the frantic worry of them prematurely experiencing the joys and heartache of the opposite sex, drunkenness, drugs and all-night raves became a memory.

No more renovating the derelict cottage sold long ago. No more rising at 6:30am to rush off to work as a practice secretary. At last my ship, with its rather bedraggled rigging, has sailed into a harbour of refuge. I am retired. Whoopee!

Now I listen as my husband leaves for work and lie in bed for a few more minutes, where in a state of alpha I’m able to dream. Then I soak in the bath, empty my mind and plan the trials and tribulations, love stories, intrigues, and let’s not forget the murders and rapes of my 19th century stories.

After breakfast I type out my bath-time plots. I usually write or research on-line, with a short lunch-break, until about 3.30pm and then I need to take a breather. I might do some gardening; mow the lawn, weeding or dead-heading just to breathe some fresh air.

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Yes, my life has indeed reached peaceful harbour; my daughter-in-law takes the ironing each week and I take the grandchildren. I’m lucky, they’re lovely.

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Of course, aside from the writing, I do have to participate in marketing the books and I’ve made many friends, particularly on Portland, through this. Every now and then I take a friend with me and drive down to the coast to deliver to my outlets there. We usually enjoy lunch at the Lobster Pot on Portland Bill.

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The tales my father told, as a born and bred Portlander have inspired my writing, and my first two books are based around that area. Somehow it makes me feel closer to my parents.

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I’ve now published two books with Matador. The first is Brandy Row (A love triangle and family saga set on Portland, involving smuggling and the preventive service).

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The sequel is Dawn to Deadly Nightshade (continuing with the family, but adding witchcraft in Somerset to the mix).

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My third novel is located partly in Dorset, Somerset, Tasmania and Australia. It tells the tale of the ex convicts who were transported to the antipodes and involves the excitement of the Victorian goldfields. I’ve finished the first draft and I’m busy doing the revisions. I hope to bring out Legacy of Van Diemen’s Land next spring.

I totally love my life now. I am a writer. It is my dream come true.

Omega & Alpha: The End And The Beginning

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Ferraris and Easter Oratorios? Where else but Haynes Motor Museum in Somerset. Last Saturday (September 20th) I went to a performance of Omega & Alpha: the End and the Beginning. And yes, it was in the Motor Museum. Which meant we wandered around the famous Red Room, with all its Ferraris, while we anticipated hearing Martin Emslie’s Oratorio. Oratorio 1

Martin, who began his professional life as an engineer and is now, largely thanks to this amazing work, a Fellow of the London School of Music, wrote both the words and music. “Why?” I asked him.

Martin has been Director of Music of Castle Cary Choir since 2009 and he was very aware that most newly commissioned choral music was suited mainly to the needs of professional singers. He wanted to create a work that was good enough to be sung by a professional choir, but also accessible enough to be sung by amateur performers. This meant restricting the vocal range, and writing music that could be performed by a chamber orchestra, but also, at its simplest, with organ accompaniment alone. Only three soloists are required Tenor, Bass-baritone and Mezzo soprano. And because the choir rather than the soloists would be the main focus of the work, he wanted a narrative in which they, the onlookers and witnesses, could tell the bulk of the story rather than simply echo or reinforce the atmosphere around the soloists.Oratorio 2

The Easter story was his choice. In his research he found something that was not only profound but also posed as many questions as it answered. It was a mystery, with witnesses providing conflicting viewpoints and opinions. The more he read the Gospels, the  more he realised that the narrative tension demanded an answer to the question that came to be the Oratorio’s theme: Was this an end or a beginning? Its title tells us: it was an end, necessary to allow a new beginning. His words and music dramatize the agony and exultation of the journey towards this revelation.

The Oratorio was first performed in Wells Cathedral last year but since then Martin has extended and developed it considerably, and this was the premiere of the final version. Having also been at the Wells premiere I was interested to know what had been gained or lost by the work’s development.

The evening was crowded: a capacity audience filled the auditorium and we were spellbound. The Castle Cary Choir rose to the occasion, as did the orchestra. The acoustics were a little less friendly than those of the Cathedral but the impact of the work was undiminished. For me there are two stand-out sections from the first half: the tenor solo in which Jesus faces his ‘predicament’ and the chorus’s mocking witness to his climb to Golgotha ‘Climb, climb, carry the cross’. The first song hints to me of Lloyd Webber at his best and the tension between words and music of the second move me almost to tears. At the end of this half, after The Crucifixion, Martin simply walked away from the podium, leaving the audience in silence. It felt absolutely right, giving us time to take breath and regain our emotional balance before the applause exploded.Oratorio 3

If the first half ends in the terror of Jesus’s death, the second moves towards resolution and revelation, with Mary coming into her own as she defies the angels who ask ‘Why weepest thou?’ The ending is Pentecost with its ‘gift of tongues’. Martin gives us this with the singing of ‘Thanks be to God’ in seven different languages. Of the 7 part harmony involved, Martin said: ‘I enjoyed doing that.’

And we enjoyed listening to it. The Oratorio, in both short and long versions, is now attracting deserved worldwide attention: from Chile, USA, Korea, Finland, South Africa among others. I am grateful to have been one of those able to attend its earliest performances.

If you get a chance to see this Oratorio, or know a choral society looking for something new, I can’t recommend Omega & Alpha: the End and the Beginning highly enough.

“And how on earth are you going to follow that?” I asked Martin. He smiled and told me that Mrs Noah and the Flood is previewing in Taunton Brewhouse on the 15th and 16th of November before moving to London. For this one he’s focused on the music and Sasha Herriman has created the book and lyrics. He tells me the music was ‘fun to write’, and I look forward to seeing and hearing it on my next visit to the Brewhouse. Go to see it if you can.

Penny Deacon

 

 

 

 

 

Historic Church Tours | Things To Do

The Churches Conservation Trust

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13th August – 5th October 2013

Suffolk – Somerset – Northamptonshire – Lincolnshire

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·      Stunning photographs of England’s most ancient churches available·      Fascinating programme of four themed tours:

 ‘Wallpaintings, Stained Glass and Memorials’ ‘Churches at War’,  ‘Carvings’ and ‘Monuments and Memorials’·      12 historic sites visited

 

 

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The Churches Conservation Trust (CCT), the national charity protecting ancient churches at risk, has launched a programme of fascinating Historic Church Tours across the country.

 

The tours will guide visitors through stunning countryside vistas, whilst breathing life into England’s shrouded ancestry and exquisite ancient architecture. Four intriguing themes included in the special Historic Church Tours are ‘Wallpaintings, Stained Glass and Memorials’ ‘Churches at War’, ‘Carvings’ and ‘Monuments and Memorials’

 

Taking place at selected churches across the country from Suffolk to Somerset, Northamptonshire and Lincolnshire, Historic Church Tours encompass a comprehensive geography of British architectural and social heritage.

 

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The next tour, Wallpaintings, Stained Glass and Memorials, will take place in Suffolk, 10:30am–4:30pm on August 13. Starting at All Saints, Little Wenham, a 13th-century flint church often described as one of Suffolk’s best-kept secrets, visitors will be in awe of the stunning wall-paintings and canopied ancient wall monuments. After a light lunch, move onto St Mary’s, Badley, a truly remarkable Medieval church with an atmosphere of great peace and stillness. With nothing for company but a 16th-century farmhouse and the wildlife of its pretty churchyard, St Mary’s is a breath-taking retreat for any passer-by. The final stop of the tour will be St Peter’s, Claydon. Overlooking the Gipping Valley, this church will astound visitors with its vibrant stained glass and extravagant carvings; a spectacular site to end this tour.

 

Historic Church Tours taking place in 2013 are as follows:

 

AUGUST

Wallpaintings, Stained Glass and Memorials – Suffolk

The three churches on this tour were selected for their stunning artwork in the form of extravagant carvings, stunning wallpaintings and vibrant stained glass.

 

SEPTEMBER

Churches at War – Somerset

Three of the CCT’s most stunning and iconic churches are positioned in Somerset. All three have been unwittingly caught up in a time of war, from acting as a hideaway during the Monmouth rebellion, to being solitary observer of mid-air disaster, the churches have seen all and kept their counsel.

 

Carvings – Northamptonshire

CCT churches in Northampton have an abundance of carved treasures on display. For this tour, CCT have selected three of the best from St Peter & St Paul’s in Preston Deanery,  stunning carvings of animals, to the Norman St Michael’s, Farndish, which boasts gorgeous carved corbels and elegant arches, and the stunning 900 year old St Peter’s in Northampton, which is full of carved treasures.

 

OCTOBER

Monuments and Memorials – Lincolnshire

This tour will explore the stunning and spectacular monuments and memorials in three Lincolnshire churches. Take in the breath-taking interior of St Lawrence’s, Snarford, the unusual red-brick chapel of St George, Goltho, which stands alone amid acres of corn and oilseed rape with only a few trees for company, and Milton Mausoleum, the only surviving mausoleum in Nottinghamshire.

 

All guided tours are priced at £40 per person and will include a light lunch and coach transportation to and from a local train station.

 

Tickets are available on general release now. To book tickets, go to http://www.visitchurches.org.uk/Historicchurchtours/