KESWICK CHORAL SOCIETY CHRISTMAS CONCERT, 2009
Festival of Christmas Music
St Kentigern's Church, Crosthwaite, Wednesday, 16th December, 2009
On
the evening of December 16th, St Kentigern's (Crosthwaite) Church was
full with an audience eagerly anticipating this year's KCS Christmas
Concert. Before a note is sounded or a word is sung, an audience
familiar or foreign cannot but sit in awe and admiration in the ancient
Keswick Parish Church on a site used for Christian worship since at
least the sixth century. Then, as the great bells reverberated in their
chamber, the Christmas tree and decorations sparkled, magically the
seasonal story began to be told in traditional song.
The ever-familiar and ever-new Once in Royal David's City reminded us
why we were there. All stood and sang together. To make assurance
doubly sure the Choir exhorted earnestly Up! Good Christen folk, and
listen! And listen we did to a great reprise of extracts from Handel's
Messiah which KCS have so successfully made their own. From this local
choir swelled a real depth and quality of sound, not least from the
male voices. The singing was strong, the chorus rousing. The good
choice of movements highlighted all the choir with the added bonus of
the mellifluous tones of solo baritone Geoffrey Gray.
Following the climax of the earth-moving Hallelujah Chorus we relaxed
into the peace of O little town of Bethlehem before enjoying a
refreshment interval when audience mixed with performers who had
generously provided seasonal goodies.
While Shepherds Watched led us into the eagerly awaited first
performance of Laetemur Animo (Let Joy be Unconfined), a new work
commissioned by KCS. Laetemur is a celebratory work, welcoming the
Christ birth - He is the One, the One and Only who may lead us back
into Paradise. The traditional Macaronic verse (English with Latin) was
written by Bob Fowler and the music composed by Phillip Cooke, a former
Keswick School pupil and currently Junior Fellow in Music at The
Queen's College, Oxford.
Phillip said: "My work tries to capture some of the joy and energy
present in the text...I wanted the work to be joyous and
uplifting."
The choir sang the new Carol with great conviction and the conductor,
Ian Hare, "marshalled the whole affair with consummate ease." The
audience much appreciated the work and many would judge it very
commendable that a local choir should have the vision to commission new
works. Long may it do so.
Later in the programme we heard the warm and graceful Starlight, text
by Denny Gaudin and music by Andrew Seivewright. It was good to have
the composers of both Laetemur and Starlight in the audience, giving a
real sense of belonging. There was also a fine performance of the
buoyant Cornish traditional Sans Day Carol (The Holly bears the Berry).
The concert concluded with a highly polished performance of Vaughan
Williams' Fantasia which brought together all the performers ina great
chroal tour de force. Throughout the choir were well supported by Mike
Town (Organ), Earnest Duncan (Piano) and the Derwent Ensemble led by
Sue Johnson.
Overll congratulations must go to the choir's Musical Director, Ian
Hare, under whose expert and professional guidance the KCS flourishes,
goes in performance and membership from strength to strength and gives
great pleasure to all who hear them.
Anyone interesetd in joining KCS should contact Chris Castell 01228 712979 or Ann Hogarth 017687 73429.
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KESWICK CHORAL SOCIETY SPRING CONCERT, 2009
St John's Church, Saturday 9th May 2009
Review reproduced courtesy of The Keswick Reminder, May 23rd, 2009
Community
concerts have their own special attraction, particularly when standards
are as high as those achieved by Ian Hare at the Spring Concert on
Saturday 9 May in St John's Church. The choir sang with musicianship
and dedication, tellingly backed by the Derwent Ensemble - led, as
ever, so professionally by Sue Johnson - with Mike Town's unfailing
support at the organ.
The excellent soloists also came from not far afield - Fiona Weakley
(soprano), Anne-Marie Kerr (contralto), Anthony Peacock (tenor) and
Geoffrey Gray (bass). But if the setting of the concert was local,
right in the heart of the town, its scope was international: the
commendation of the death of Haydn, and the birth of Mendelssohn, both
in the same year, 1809.
A highlight of the evening was certainly the well-loved duet and chorus
from Mendelssohn's "Hymn of Praise" - "I waited for the Lord. If those
who wait for the Lord shall mount on wings as eagles" - this glorious
piece fairly soared to the heavens. The contrasting, but well-blended,
voices of Fiona and Anne-Marie served as a focus for a total ensemble
which came together in a most beautiful and expressive performance.
Drama was brought in by tenor Anthony Peacock who posed the question
"Watchmen, will the night soon pass?" After Fiona had responded with a
radiant affirmative, the choir delivered a much convincing dawn chorus,
complete with some splendid top 'A's from the sopranos. The "Now thank
we all our God" chorale, which follows, was notable for some very good
playing as well as singing.
If the "Hymn of Praise" has a 'darkness to light' theme, Haydn's Nelson
Mass, which formed the first half of the programme, follows a similar
pilgrimage - from the turbulent 'straits' of war to the broad, sunlit
uplands of peace.
Again, Fiona's silvery soprano added a wonderful brightness - right
from the opening Kyrie, where she has many notes to sing! Equally
impressive - and expressive - were the powerful utterances of
Anne-Marie in the "Agnus Die", and Geoff Gray in "Qui tollis". The
quartet were a huge asset in whatever they sang, with Anthony Peacock
showing once again how well deserved is his high reputation.
But very good too were the chorus! And the instrumentalists as well.
Both go from strength to strength under Ian Hare's expert guidance.
What a wonderful evening - hearing great music in a live performance in surroundings of beauty.
Andrew Seivewright
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KESWICK CHORAL SOCIETY CHRISTMAS CONCERT, 2008
Crosthwaite Church, Saturday 20th December 2008
Review reproduced courtesy of The Keswick Reminder, Jan 9th, 2008
Fortunately
enough, the singer taking the name part in Benjamin Britten's cantata
Saint Nicholas does not have to clock up air miles in a reindeer-drawn
sleigh, or operate a parcels delivery service down inconvenient
chimneys. But he does have to take centre stage in bringing to life
this much-loved 4th century saint in a variety of situations from
adolescence to the final Nunc Dimittis during this 50 minute piece.
Quite daunting.
Tenor, Anthony Peacock served his audience well in a deeply moving
performance doubtless appreciated by his fellow-artists, who also gave
of their best.
The annual concert which conductor Ian Hare puts on in Keswick is in
fact like a Christmas gift to the town - one which on this occasion
deserved a larger audience, even though there were a fair number
present. TV interference, I gather!
The Cantata's Prelude, evoking mystery and the passage of time, showed
Leader Sue Johnson and her Derwent Ensemble to be in fine form - tuning
and tone just right. Equally impressive was the chording of the chorus,
who set up Anthony Peacock's first entry with drama and precision. He
did not disappoint.
The Choral Society benefitted throughout from the authoritative
direction of Ian Hare, whose familiarity with the score ultimately
derived from his participation in a legendary CD recording with Sir
David Wilcocks many years earlier. His own conducting had both clarity
and expressiveness.
The excellent pianists, Cilla Grant and Margaret Ferriby, came up with
the appropriate gurgling noises in the bath-time waltz-song (Britten
was keen on these) and delivered nice foamy arpeggios to create a storm
later on. There were also telling contributions from percussionist
Anthony Payne. As is often the case, the pitch of the Crosthwaite organ
does not accord well with other instruments, so Mike Town used an
electronic keyboard - to very good effect. If the chorus faltered
briefly in the fugue, it was of small account in the general
performance. The hymns were magnificent.
Influenced by early Baroque composers, Britten enjoys theatrical,
spatial effects. It would have been nice if three school children had
sung the processional Alleluias which vanquish the pagan March. A great
reception would have been assured.
After the interval the audience sang and were sung to. "Ding Dong!
Merrily" had effective dynamics, if very slight tuning problems around
treble C - after the high notes. Ian Hare's own carol was well sung
with the men showing fine blend. Anthony sang a spiritual with fitting
simplicity, and Cilla Grant set up the entertaining "First day after
Christmas" most subtly. Mike Town exploited the Crosthwaite trumpet
stop with telling articulation. Equally articulate was Dr David Hughes
in his timely Christmas message. And your reviewer was lucky enough to
hear his own carol "Angels from Heaven" for the second time in eight
days. Thank you! More importantly, "Saint Nicholas" can be heard again
in Penrith in March.
Andrew Seivewright
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KESWICK CHORAL SOCIETY SPRING CONCERT, 2008
St John's Church, Saturday 5th April 2008
Review reproduced courtesy of The Keswick Reminder, April 11th, 2008
The
brightly printed programme for the concert at the parish church of
Keswick St John promised much, and the concert lived up to it
abundantly.
If the post-interval Faure Requiem was the most substantial offering,
there were many other delights - Ian Hare's Choral Society goes from
strength to strength. Cesar Franck's ever-popular "Panis Angelicus"
gave an excellent start, memorably embellished by the cello obligato of
Tina Macrae, and the harp, played by Fiona Austen.
Mike Town was his usual imperturable self at the organ, later on contributing a fine performance of Mushel's engaging Toccata.
Choral highlight of the first half was conductor Ian Hare's own
composition "The Vale of Keswick". This piece had an "Ancient and
Modern" connotation, containing lyrics by
pre-Wordsworthian writers John Brown and John Dalton as well as by
8 year old writers Francesca Carpenter, Hannah Watson and Georgina Bell
from St Herbert's School. Their attractive poems were given equally
attractive musical settings by Ian Hare, and sung so well by a singing
group from the School.
The composer was less merciful to the Choral Society who had some
challenging entries to make, given the sometimes complex accompaniment
- very well played by Cilla Grant. But the singers did well, especially
in the atmospheric second movement. The dramatic first movement
reflects 18th century ambivalence about the wildness of the Lake
District's crags and torrents - awesome or awful? The work needs to go
on the road, where it would settle down very well.
Bass soloist Geoffrey Gray sang Britten folk songs in fine style, and
Karen Wilson's radiant soprano won all hearts. Handel's "Spring" was
pure euphoria, while "All in the April Evening" received a simple
unaffected delivery that added to the poignancy. Again, excellent
accompaniment.
Both soloists contributed much to the Requiem as did Sue Johnson's
Derwent Ensemble, though, surprisingly, the Introit was marred by some
instrumental untidiness. But the choir blended very well.
What else can I mention? The sopranos in the lovely climatic phrase in
the Cantique that preceded the Requiem; tenors and altos so nicely
restrained in the Offertory; Hosanna to shake the walls of Jerusalem,
set up by the horns; a wonderful "Pie Jesu" followed by an "Agnus Die"
that was a trifle quick for me; a truly lovely "In Paradisium" with a
most telling and original organ accompaniment.
Well sung! Well played!
On behalf of the church Valerie Montgomery expressed an appreciation felt by all. And deservedly so.
Andrew Seivewright
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KESWICK CHORAL SOCIETY CHRISTMAS CONCERT, 2007
Crosthwaite Church, Wednesday 19th December 2007
Review reproduced courtesy of The Keswick Reminder, Jan 4th, 2008
Keswick Choral Society celebrated Christmas in fine style at
Crosthwaite Church, sending away a large and enthusiastic audience very
happy indeed. Conductor Ian Hare excelled himself in assembling and
directing the cream of local talent, while the vicar, the Reverend
Stuart Penny, and Dr David Hughes appropriately marked in prayer and
reflection the miraculous event that is at the heart of this much loved
Christian festival.
The congregational singing itself was a joy, inspired no doubt by
choir, orchestra and conductor, as well as by the resplendent setting
of the church itself.
As ever Mike Town was a tower of strength at the organ, and delighted everyone with his solo performance of the Charpentier Te Deum, well-known through its Eurovision association.
Like Handel, Vivaldi always seems to me a composer who should be
prescribed on the National Health Service. Listening to his euphoric
scores, of which the Gloria
heard at the concert is a splendid example, might do much for the
nation's health, and even cut costs! Well backed by a small
orchestra, led by Sue Johnson, the choir gained in confidence and blend
as time went on, and finished strongly. Soloists Rachel Little and
Alice Russell-Hare added distinction, as did Elaine Moor's oboe and
Tina Macrae's cello playing.
Later, in some of the carols, the choral balance, phrasing and tuning were worthy of a high-class chamber choir.
There was real expressiveness in Brian Richardson's evocative Fellside Carol, which pleasingly followed two movements from Warlock's Capriol Suite - played with style by the Derwent Ensemble.
The deservedly popular Millbeck Wind Ensemble was joined at the piano by Ian Hare in an attractive Sextet by Theodore Blumer. So scintillating was one of the variations that premature applause broke out! This was followed by A Christmas Card
- presumably of the humorous type. Some earthy sounds suggested the
18th century wind-band music that was intended to cover the less
delicate 'noises off' at banquets. Hugely enjoyable!
By contrast Rachel Little was at her winning best in Howells' lovely Come sing and dance and Rocking, the gentle lullaby.
Starlight, with lyrics by Denny Gaudin and music by your reviewer was splendidly performed as was Christmas is coming. Conductor and choir ended the evening with real panache, and the thanks expressed by the vicar had been well and truly earned.
Andrew Seivewright
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