Time To Dance

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profit has the worker from that in which he labors? 10I have seen the God-given task with which the sons of men are to be occupied. 11He has made everything beautiful in its time. Also He has put eternity in their hearts, except that no one can find out the work that God does from beginning to end. I found it one of the most emotional and compelling dramas I have ever seen and I still remember it fondly & vividly today, some 18 years after being shown on TV. The subject matter at first seems a little risqué – a 54 year old married man falls for a girl 36 years his senior. Now, this could have gone any way really – it could easily have come across perverse or sordid, but it is all credit to the writing that it is in fact is a masterpiece of the emotions.

The story is one of love, lust, jealousy, frustration, mixed loyalties, obsession, misunderstandings & the issues & problems that are present in a relationship where there is a large age & class gap, though common ground is found in this instance. from the book: "They are the perfect couple-envied by their friends, cherished by their children, admired by their peers. But John and Abby Reynolds know they are pretending to be happy. In fact, they're waiting for the right time to tell the kids they're going to divorce. But at the family meeting where they plan toe tell their children, Nicole shares a surprise of her own; she's getting married. How can they spoil her joy with their announcement? They can pretend a little longer - until after the wedding. But questions begin to haunt them as the date draws nearer. What happened to the love and commitment that held them together for so long? Is it still there somewhere under all the pain and misunderstanding? And is it still possible, alone in the moonlight on an old wooden pier, to once more find..a time to dance? " Performers often have to be reminded –particularly when performing Baroque works – that the style is ultimately rooted in dance music. Which of course it is! And your music – both A Time To Dance, but also the similarly light-footed Hatfield Service – clearly pays homage to this tradition. Is this something you try to involve in all the music you write?Charlene was there when he needed his ego boosted, she always hanged on to his every word, making him feel he was important, and wanted! John’s body wanted Charlene in a way a married man just can’t express. And fighting this want was almost impossible for John, until he took the time to read his youngest son’s SA on Eagles. Here God really opens his eyes to what a marriage should be, and why he could not leave his wife. Vivaldi to mind, and I couldn’t resist incorporating a few references to his music, although I now regret mentioning it in my notes for the CD booklet. Vivaldi is a generous composer, his musical ideas ripe for further development, as Bach so often demonstrated. My Vivaldi references vary from a short snippet of melody, to a quite sizeable, much re-composed section, but they have no “deeper significance”, and you haven’t missed anything if you don’t recognise them. But at the family meeting where they plan to tell their children, Nicole shares a surprise of her own: she's getting married. How can they spoil her joy with their announcement? They can pretend a little longer—until after the wedding.

Gill's Exposition of the Entire BibleA time to weep, and a time to laugh,.... There is a time for these things, as it goes ill or well with persons, as to their health, estate, or friends; and as it goes ill or well with kingdoms and states. The Jews wept when they were in Babylon, and their mouths were filled with laughter when their captivity was returned, Psalm 137:1; and as it goes ill or well with the church of Christ, when there are corruptions in doctrine and worship, a neglect of ordinances, declensions in faith and practice, few instances of conversion, and there are divisions and contentions, it is a time for the mourners in Zion to weep but when God creates Jerusalem a rejoicing, and her people a joy, or makes her an eternal excellency, and the praise of the whole earth, then it is a time to rejoice and be glad, Isaiah 61:3; and as it is, with believers, when Christ is withdrawn from them, it is a time to lament, but, when the bridegroom is with them, it is a time of joy; when it is a night of darkness and desertion, weeping endures, but when the morning comes, the day breaks, and the sun of righteousness arises, joy comes with it, Matthew 9:15 John 16:19. Now in the present state is the saints' weeping time; in the time to come they will laugh, or be filled with joy unspeakable and full of glory, Luke 6:21; I hope this fine recording will bring it to the attention of a wider public, as it deserves. I hope also that other choirs will take it up, especially as it can be performed on modern instruments.” Roth’s long relationship with Jeffrey Skidmore and Ex Cathedra has already yielded the exceptional Shared Ground (Signum, 2011), and their follow-up collaboration is even stronger. A Time to Dance is an hour-long cantata for a quartet of SATB soloists, choir and orchestra (here a Baroque band, inspired by the work’s original commission as a companion piece for Bach’s Magnificat), with all the makings of a modern classic—a work you’d want to perform and, crucially, perform again. The descriptions - though at their best in doing so - don’t always cover the sex and love between the couple but also incorporate the narrator’s (and I presume Bragg’s) love of the Lake District.For me, music is rooted in the body – in song and dance. When we are deeply affected by music, we say we are moved by it. For music to happen, something has to move to set the air vibrating: bow; string; lips; tube; hand; drumhead; breath; vocal cords. In the lovely imagery of the final poem in A Choral societies are hungry beasts and there are only so many Rutter Glorias they can consume. With A Time to Dance Roth has provided a serious alternative—a contemporary work of real character and energy.

This is a well-written, beautifully evocative story of an illicit, thinly veiled relationship between a retired bank manager and an 18-year old young woman in the North of England in the late 1980s. The description and being in the mind of the main character was certainly convincing. This was less true of two female characters: his lover and his wife. To enjoy a fully-rounded character a reader expects grey and possibly dark grey aspects. Both these women were above criticism. The lover, Bernadette, becomes a very active, uninhibited, monogamous and amorous lover; not what you might expect of a teenage rape victim without the same relentlessly investigative treatment as the protagonist receives. Her moral development is totally out of kilter with her upbringing. Angela, the wife, is a sadly perfect person. Christian fiction LOVES a fallen man so that there is a chance for his redemption. I'm more than a bit weary of that whole cycle because of the women who get pressured (mentally, emotionally, spiritually, institutionally) into keeping their unfaithful men and supporting them through their transgressions. Regardless of the cost to the women. Puts a bad taste in my mouth.The two temporal cycles, Times of Day and Seasons of the Year, are favourite subjects for poets, as they offer such rich possibilities for metaphor when dealing with the human condition. There was no shortage of material; I simply had to spend a lot of time (well over a year) searching and sifting. You use the chimes of the handbells at strategic points to denote the passing of time – striking the hours of three, six and so on – and the work’s diverse texts tightly integrate the times of day, of the year and of human life. How did you manage to find texts reflecting all three parallel progressions as closely as your music does? A strong quartet of soloists move through the seasons: Grace Davidson is bright, spring soprano, Samuel Boden sensuous, Brittenish summer; Matthew Venner’s countertenor is autumn and bass Greg Skidmore completes the year as winter. All come together with the massed forces of Ex Cathedra (on typically fine form) for a stately Globe-style jig, bringing this immensely attractive cycle to its exuberant close. Disconnected from God both John and Abby choose not to listen to The Voice in their heart, constantly dismissing it or telling God that ‘no way’ the other person can still love them. Not letting go and letting GOD! It is indeed true that there were some raunchy scenes between the two main characters but they were entirely appropriate and in keeping with the plot.

The influence of Bach arose from the simple fact that the new work was to be premiered alongside a performance of Bach’s Magnificat, and so it was a given that I would compose for the same forces: soloists, choir, and an orchestra of two flutes, two oboes (each doubling on oboe d’amore), bassoon, three trumpets, timpani, strings and a small ‘continuo’ organ. The only change I made was for the percussionist to put aside Bach’s timpani in favour of a pair of handbells to toll the passing hours, and an array of unpitched instruments to add a dash of colour where appropriate (such as the obbligato parts for desk bell, washboard and dinner gong in No 16). Composing for ‘period instruments’ was a fascinating challenge (most noticeable in the valveless trumpets with their limited range of notes), and I am most grateful to the members of the Ex Cathedra Baroque Ensemble for their advice.Honestly! John and Abby are seen by everyone around them as the perfect married couple. They have been married for 22 years and have no idea how to communicate??? What have they been doing in all that time? I recognize that people can grow apart, but these two never make any attempt to actually talk to each other. They just make accusations and suffer hurt feelings. I wouldn't say I have a perfect marriage, but we do TALK to one another, and there is mutual respect, meaning we listen to the other point of view, even if we don't agree. Is that actually a rare thing in the world?