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Keswick Choral Society


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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