Registered Charity No:
1121399
CONCERT REVIEW
CUMBRIA RURAL CHOIRS
St. Cuthbert’s Church, Carlisle
Saturday March 31st, 2012
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Uplifting Brahms Requiem
Brahms and
Handel were the main
composers featured in Cumbria Rural Choirs’ annual concert, held
in St.
Cuthbert’s Church, Carlisle. The choir of 120 voices, mainly
consisting of
members of Keswick Choral
Society, Penrith’s Ullswater Choir and Wigton Choral Society,
were in
resounding voice in a challenging programme, under the expert direction
of
guest conductor Andrew Padmore.
The concert
began with a short
anthem, Christ be with me, written by
the choir’s chorus master, Ian Hare, in memory of a former
chairman, Patrick
Short, who died tragically in a road accident in 2010. The attractive
chordal
writing for choir with occasional harmonic quirks for organ, inspired
by
Messiaen, presented a promising aperitif to the main substance of the
programme.
Handel’s
Coronation Anthems Zadok the Priest and The
King shall rejoice will no doubt get
many outings during the Diamond Jubilee Year but may not always be sung
as well
as they were on this occasion. Andrew Padmore’s lively tempi,
aided by Ian
Hare’s impeccably rhythmic organ accompaniment, enabled the choir
to
demonstrate the joyfulness and majesty so characteristic of these
works, and
also the precise articulation of Handel’s more intricate writing.
That same
clarity of articulation and assurance of style was evident in
performances of
two Handel arias, “Oh! had I Jubal’s lyre” and
“Arm, arm ye brave” by the
evening’s two soloists, Maxine Taylor (soprano) and Che Seabourne
(baritone).
In the 62 years
since their
foundation Cumbria Rural Choirs had sung Brahms’s A
German Requiem on three previous occasions, no doubt in
English and with orchestral accompaniment. This performance was
different in
that it was sung in the original German and with an alternative piano
duet
accompaniment, approved by Brahms and played with great authority by
Cilla
Grant and Ian Hare. Any doubts on either score were quickly dispelled
by the
sensitively controlled dynamics and the spacious climaxes of the
opening
movement, while the following movement’s “Behold, all flesh
is as the grass”
was as remorseless and chilling as the invocation “Now therefore
be patient”
was tender and reassuring. A similar contrast was seen later in
“How lovely are
thy dwellings fair”, where the beautifully phrased opening was
balanced by the
decisiveness of the later writing.
The introductory
sections of the
two movements involving baritone solo were sung with power and
authority by Che
Seabourne. Each movement ends with a complex fugue, probably the most
difficult
choral parts of the work. The choir had obviously worked thoroughly on
these:
moments of uncertainty were rare and the tricky time changes were dealt
with
assuredly. The alto section’s “Lord, thou art worthy”
inspired confidence and
the soprano section’s constantly soaring lines only flagged a
little as the
final movement was reached. Warmth and sensitivity marked the
chorale-like
textures of the choir’s accompaniment to the soprano
soloist’s “And ye
therefore have sorrow”, sung with tenderness and a lovely pure
tone by Maxine
Taylor.
Brahms’s Requiem is a “big sing” for any choir and
Cumbria Rural Choirs are
to be congratulated on achieving such an uplifting performance, much
appreciated by a good-sized audience. Next year’s concert in
Carlisle Cathedral
on March 9th with music by Bob Chilcott, who will also
conduct, and
John Rutter is already an event to savour.
Colin Marston
KESWICK CHORAL SOCIETY CHRISTMAS CONCERT,
2011
Festival of Christmas Music
St Kentigern's
Church, Crosthwaite, Tuesday,
20th December, 2011
Review
reproduced courtesy of The Keswick Reminder, December 23rd, 2011
Angels Sing on Earth!
At the annual
festival of Christmas music in the ancient St Kentigern's (Crosthwaite)
Church, Keswick Choral Society gave vibrant fulfillment to Sweelink's
vision of Today a Christ is Born, Noel. It is little wonder that this
16/17th Century, Amsterdam Composer, became known as The Orpheus of
Amsterdam. The evening began with enthusiastic audience participation
in Once in Royal David's City, led by a crystal clear soloist in a
dramatic entrance of the Choir through the nave of this hallowed site
used for Christian worship since at least the sixth century.
After the traditional
bidding prayer by the Society's President, Bishop James, there followed
a confident, affirming performance of Vivaldi's Gloria, a superbly
eloquent affirmation of man's faith, supplication and worship of the
King of Heaven, followed by intimations of salvation on earth - the
event at Bethlehem, dark streets lit by an everlasting light, mortals
asleep, ears innocent of the arrival of Christ accompanied by the songs
of Angels. It is characteristic of the Keswick Choral Society that
Little Town of Bethlehem was re-invested with meaning, leading the
audience perhaps to revalue the earthly dimensions of that much loved
Carol.
It was a particular
mark of this year's Festival that the audience participation progressed
with such appreciation, vigour and commitment. O Come All Ye Faithful
was indeed sung with palpable joy and triumph and took all straight
back again to the start in Bethlehem. The invitation to Come and Behold
Him was a thrilling, musical bidding, persuasive, welcoming, festive -
the Carol invites All the Citizens of Heaven to join in - and that was
the gestalt of the Conductor, Ian Hare, abd the joyful, smiling,
confident role of the Choir who achieved a mystical luminosity in some
of the offerings.
Keswick Choral
Society are blessed with access to professional soloists of known
quality, this year, Anne-Marie Kerr and Fiona Weakley, as well as
composers - not least their 'own' Carolyn Sparey whose Christmas Bells
has become a regular expectation in the Festival. For an orchestra the
skillful Mike Town accompanies on both piano and organ - performances
in their own right. This year more individuals from the Choir also took
on solos and this was a very refreshing aspect of the evening, much
enjoyed and appreciated.
A contribution from
the Rev Stuart Penny, Vicar of Crosthwaite, was a witty and welcome
interlude between visiting vocal solos and performances of traditional
and modern pieces, not lest a sensitive rendering of Eric Whitacre's
Light and Gold (Lux Aurumque).
The applause which
followed the final Hark! The Herald-angels Sing was a proof of the
appreciation of the the ever growing audience of supporters of Keswick
Choral Society. The outstanding meaning of the evening was perhaps
achieved by the most skillful composition of the programme which took
the listeners on a journey from Angels singing celestially to the
reality of Bethlehem and the consoling joy the great story offers.
Bob Fowler
HALLELUJAH
A VIEW FROM
THE GODS
Review
reproduced courtesy of The Keswick Reminder, November 25th, 2011
When
King George II first heard the Hallelujah Chorus it is said that he was
so
inspired that he stood up. When the
capacity Keswick Theatre by the Lake audience rose from their seats on
Remembrance Sunday (November 13th, 2011) they
were acknowledging not only a tradition
but also a
delight in their Choir’s exhilarating
rendering of Handel’s great Chorus.
They
were more than ready to show their appreciation of the joyful spirit
and
uplifting conviction conveyed in the interpretation and performance of
the
great Christian story. Indeed, the excitement started before the
performance
began – it was the hottest ticket in town and none who were
fortunate enough to
have a seat were disappointed. The
loyalty and dedication of the audience supporters were palpable in the
foyers
even before they reached the auditorium. From the Overture, and the
tenor’s
professional solos to the first great Chorus – Every Valley Shall
Be
Exalted - the audience’s thrill
could scarcely
be contained. The young Swedish baritone who nobly stood in at short
notice
demonstrated the distinction he deserved when graduating from the
Guildhall
School. Here we all were, confident with
the Northern Chamber Orchestra, happy with the soloists, and thrilled
by the
sounds which the well rehearsed choir were contriving in a new,
adventurous
venue.
There
was a heightened expectation of how Keswick Choral Society, skilfully
trained by their consummate Music
Director, Ian Hare, would come over in this adventurous leap into a
large, professional
auditorium. Their faith and their supporters faith in them was highly
justified. The theatre experienced all the moving drama of the greatest
story
in the world – the reflection on Christ as the Messiah, the forecasts of
the prophets, the Incarnation, Passion and Resurrection, the
ultimate
confidence inspired by Christ’s glorification in Heaven –
the confirmation that
‘as in Adam all die, even so in Christ
shall all be made alive.’
The
Choir sang the great story with verve, conviction and affirmation. Sometimes it was difficult for the audience
not to join in with both soloists and Choir -
all were embraced by the messages the text and music
expressed– ‘the glory of the Lord shall be
revealed’
- ‘He shall feed his flock like a
shepherd’ - ‘For ever
and ever’ - ‘AMEN! ‘
It
can emphatically be said that Keswick Choral Society has come of age
and
audiences will look forward to continued Theatre performances where the
space
and professional support does the
enterprise such justice. BRAVO!
HALLELUJAH!!
Bob
Fowler
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Messiah
by G. F. Handel
Keswick
Choral Society, Northern Chamber Orchestra
Conducted by Ian Hare
Theatre by the Lake,
Keswick, Sunday 13th November
2011.
Review
reproduced courtesy of The Keswick Reminder, November 18th, 2011
On a mild Remembrance Sunday
evening, it seemed that the whole town of Keswick had turned out to
pack the
Theatre by the Lake for a performance of Handel’s
‘Messiah’. Keswick Choral
Society, whose numbers were
boosted for the evening by members of other local choirs, were
accompanied by
the Northern Chamber Orchestra under the experienced baton of Musical
Director
Ian Hare. This was the first time the
Messiah had been performed in the Theatre by the Lake, and the dry
acoustic
provided a greater intimacy than found in the more usual local church
venues,
but this also brought its challenges for the performers.
Tyler Clarke (Tenor solo) made
the most of the intimacy of the theatre with his beautifully smooth
lyrical
singing bringing soothing comfort in the opening recitative, and
showing
impressive breath control in ‘Ev’ry valley’, although
his gentle style seemed a
little too polite for the later aria ‘Thou shalt break them in
pieces’. The Bass soloist,
Swedish-born Håkan
Vramsmo, combined a real stage presence with strength and careful
control in
his arias. The ‘furious
raging’ of the
nations was well communicated, even though the orchestra seemed to be
rushing
him in some of the triplet passages. The
star of the evening for me was alto soloist Katie Bray, who exploited
the
theatrical aspects of the Messiah and the intimacy of the venue to
engage
extraordinarily with the audience. Her
singing was smooth and descriptive, and as she sang ‘He was
despised’ she
poured so much feeling into her performance it seemed that she would
break down
in tears at any moment! The soprano
soloist, Eleanor Dennis, was almost understated in her singing, which
meant
that her diction and the intricacy of Handel’s writing was not
obscured by the
strong operatic tone and vibrato that
she could have employed. The result was
delightfully clear and smooth singing perfectly suited to the work.
The Choir seemed rather
restrained in the first part as they came to terms with the very
different feel
of singing in the Theatre. Individual
sections lacked confidence, and the tutti passages didn’t always
provide as
much dynamic contrast or excitement as I was looking forward to. However, as the evening went on the choir
seemed to find their stride, and the ‘Hallelujah’ Chorus
was suitably majestic,
and the Amen chorus was strident and triumphant.
The small orchestra, under the
strong leadership of Nicholas Ward, was well balanced and the playing
was very
controlled, though perhaps the staccato was a little overdone for the
acoustic. Worthy of special note was the
excellent
trumpet solo of Tracy Redfern in ‘The trumpet shall sound’.
The organ was also
well balanced with the orchestra and sympathetically played by John
Cooper
Green.
As the theatre emptied, it was
clear from the buzz and chat among the audience that this had been a
most
enjoyable event for Keswick, and a fitting way to mark Remembrance
Sunday.
Ian Wright
KESWICK CHORAL SOCIETY SPRING CONCERT,
2011
Registered Charity No:
1121399
St John's
Church, Keswick, Saturday,
14th May, 2011
Keswick
Choral Society's Spring Concert, held last Saturday in St John's
Church, was something of a celebration: the commemoration of one man's
life, as well as a celebration of life, love and the beauty of the Lake
District.
Members of the choir were in fine voice and gave a very polished and
professional performance of an eclectic programme of music. In the
beautiful setting of St John's, framed by the stained glass windows,
the choir, conducted by Ian Hare, looked elegant in black and
white with touches of deep damson.
The concert opened with a Motet, Christ be with me, composed by Ian
Hare himself in memory of Patrick Short, the former Chairman of the
Cumbria Rural Choirs, who died so tragically last year in an accident.
The words were taken from St Patrick, and while the music was gently
and haunting, the words were ultimately consoling, ending with the
words 'restore me'. A brief reflective silence followed.
The major work of the evening was the Gloria by François
Poulenc, superbly performed by the choir and by the soloist, soprano
Rachel Little. Adrian Self was the able accompanist on the organ. This
is an unusual piece, full of contrasts both subtle and dramatic,
highlighting Poulenç's approach of combining solemnity with joie
de vivre. Rachel Little's voice was glorious, particularly in the
Domine fili unigenite (Lord, the only begotten son, Jesus Christ).
Like so many other choirs, the Keswick Choral Society doesn't have
quite as many male voices as it would like, but nevertheless the men
produced a powerful and moving sound for the final Qui sedes ad
dexteram Patris (Who sits at the right hand of God the father).
The second half of the concert moved towards a lighter note, beginning
with A Cumbrian Canticle, composed by Ian Hare. This is a composition
specifically commissioned for the 60th anniversary of the Cumbrian
Rural Choirs last year, and it consists of a setting of four poems by
Ruth Padel. Her approach was to take the characteristic colours of the
Lake District - blue, white, grey and green - together with the four
seasons and the symbols associated with St Kentigern - a bird, a fish,
a bell and a tree. The resulting words were clearly a challenge both
for the composer and for the choir, but there were some delightful
musical effects: sea shanties to celebrate Whitehaven, the sound of
sheep scrambling on a hill, or water tumbling down a hillside. The
piano accompaniment was very effectively provided by Cilla Grant.
Rachel Little, the soprano, then sang two songs: an exquisite and
passionate French love song - Les Chemins de l'amour by François
Poulenc and a song from Carousel by Richard Rodgers.
The final part of the concert was the most light-hearted of all with
selections from The Sound of Music, sung by the choir.
The evening's programme of music was very well received by the
audience, as were the refreshments provided by the choir in the
interval.
KESWICK CHORAL SOCIETY CHRISTMAS CONCERT,
2010
Festival of Christmas Music
St Kentigern's
Church, Crosthwaite, Thursday,
16th December, 2010
The appeal of Keswick
Choral Society grows with each performance. The bleak mid-winter
celebration on December 16th at St Kentigern's (Crosthwaite) Church was
no exception. Despite the challenge of frost, exceptional snow falls in
the North and icing roads in the East, attendance was greater than
ever. The sense of excitement and anticipation were heightened perhaps
by the awareness that the Bidding Prayer would be made by the Society's
new President, Bishop James of Carlisle.
Before a note was sounded or a word sung locals and visitors alike
could not but sit in awe and admiration in this ancient Parish Church
on a site used for Christian worship since at least the sixth century.
As all appropriately sparkled with joyful decorations, 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 all why we were
there. This year the choir processed to flickering candles which
increased the sense of community and belonging.
It says a lot for the commitment to Keswick Choral Society that
although the soloist cast might have been decimated by weather and
winter ailments, stand-ins volunteered for all vacancies and performed
faultlessly. Fiona Weakly, for Julie Leavett, gave a crystal clear
start to Once in Royal. Tenor Ian Wright stood in at the last moment
for Anthony Peacock, doubling his singing with playing the violin. Bass
Geoffrey Gray stood in for Jonathan Millican. Contralto Sarah Wall
complemented the group of soloists.
The 15th century Adam lay ybounden (for 4,000 winters for munching the
apple!) and Ding Dong merrily were followed by extracts from the
Messiah, well known by the choir following their 2008 performance with
the Keswick Rural Choirs. So awe-struck by the quality and effect of
the music were the audience that the Conductor, Ian Hare, felt
compelled to turn round from his podium and remind the listeners that
clapping was in order - and clap they did with vigorous appreciation.
Following the interval, as has become the tradition with KCS, a
commissioned work was performed - Christmas Bells by Carolyn Sparey.
This is a brave piece and was well received. In particular, it is one
of those compositions which offers challenges and even controversy in
the interpretation of the text. Owing much to Longfellow's verse, the
sentiments beg questions: 'There is no peace on earth ...hate is
strong...' Optimism triumphs and Carolyn's bells ring out - 'they peel
more loud and deep'...'God is not dead nor doth he sleep'. It is
sometimes refreshing to be reminded in music and verse of the obstacles
on the journey to faith and reassured of the positive.
In addition to further Carols and a vivacious Choral Prelude by Mike
Town, the second half was devoted to the Magnificat. Whose Magnificat?
While a Stabat Mater is widely acknowledged to Pergolesi and the
Magnificat in the KCS programme is headed Pergolesi, there is still
some controversy about authorship. Next to Vivaldi's Gloria and
Pergolesi's Stabat Mater, the Magnificat in B flat is among the most
familiar pieces of sacred music. While there is still debate about
authorship (Pergolesi or Franceso Durante?) it is a piece which finds a
happy place in the KCS repertoire. It is deservedly popular and KCS did
the work vivacious justice.
The excellent organ accompaniment throughout the evening was
complemented by the Derwent Ensemble, a group of dedicated professional
musicians based in Cumbria. The choir and audience owe a great deal to
the hard work of KCS and its Officers in bringing concerts of this
standard to Keswick audiences. Ian Hare, Conductor and Musical
Director, has meticulously developed the professionalism and invention
and spirit of adventure in the Choir, as well as developing programmes
combining traditional with new works.
Bob Fowler.
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 in a great
choral tour de force. Throughout the choir were well supported by Mike
Town (Organ), Ernest Duncan (Piano) and the Derwent Ensemble led by
Sue Johnson.
Overall 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 interested 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
