And all the trumpets sounded – Ronald Corp
Ein Deutsches Requiem – Brahms
Join us this December for Handel’s blockbuster oratorio and hear some of the repertoire’s most dramatic and exciting choral writing. Since 1742, The Messiah has secured itself firmly in the calendar and become something of a Christmas institution. Retelling the story of Christ, it is heaped full of beautiful arias including He was Despised and Rejected and I Know that My Redeemer Liveth and rousing choruses like For Unto Us a Child is Born and the ever-popular Hallelujah Chorus. Handel’s ability to capture the mood – from passionate rage to serene pastoral moments – is perhaps what makes this one of the most enduring choral works of all time.
It always happens! I find myself at the height of (a very hot) summer contemplating concerts that will for the most part come to fruition in various stages of depth of winter. And yet again I find myself sensing in advance the warmth that will emanate from The Chichester Singers when performing four exciting and contrasting programmes in the coming season.
November 2018 will be a moment for sombre reflection on the Centenary of the Armistice that brought to an end four years of bitter conflict which took the lives of so many in the Great War.
To mark this moment of national remembrance, we will perform two highly appropriate and deeply moving works. Ron Corp is one of the UK’s leading contemporary choral composers (and conductors) and his work And all the trumpets sounded combines the words of the Latin Requiem Mass with those of poets such as Rupert Brooke, Edward Thomas and Wilfred Owen, whose work was so affected by their wartime experiences. Ron will be coming to one of our Wednesday rehearsals to talk about his music and help us with its preparation.
Partnered with this evocative new work will be Brahms–Requiem, truly one of the great masterpieces of the choral repertoire. And, for our soloists, we will enjoy again the exceptional work of soprano Claire Seaton and baritone Gareth Brynmor John.
In the approach to Christmas, we will revisit a work which always stirs the festive spirit – Handel– Messiah. Our rehearsal run towards this performance will be short and sharp (only five Wednesdays). Beware that the familiarity and initial confidence that very many singers have for this work is often matched by a belated realisation of how difficult it actually is to sing well.
In March 2019 we will perform another of the great pillars of the repertoire – J S Bach–St. Matthew Passion. This provides the challenges of much double-chorus work and some wonderfully vivid sections where the choir take on the mantle of a vengeful mob, contrasting with the dignified chorale settings and reflective solo arias. And we will again have the terrific dramatic tenor James Oxley as our solo Evangelist – I am sure that very many of you will remember his marvellous performance (from memory) of the same role in the St John Passion a few years ago.
As a contrast to three concerts in which we will perform large-scale major works, our June 2019 concert will be a French/English programme of shorter lesser-known pieces.
We will be joined for this concert by a small number of singers from Chartres, to mark the 60th anniversary of the formal twinning of Chichester and Chartres. From across the Channel we will explore Vierne–Messe Solennelle, alongside two more familiar little gems – Fauré–Cantique de Jean Racine and Franck–Panis angelicus, while from closer to home we will give the first UK performance of Chichester University Professor of Composition Jonathan Little’s
Crucifixus, John Rutter–Gloria and my own work for baritone solo, chorus, brass, percussion and organ, From darkness to light.
I am very touched that The Chichester Singers will be performing one of my own works exactly 40 years on from my very first concert with the choir in 1979.
Best wishes to you all – Jonathan
Perform Walton’s cantata Belshazzar’s Feast in Guildford Cathedral? Sixty years or so ago the idea would have seemed preposterous. Quite apart from the fact that Guildford Cathedral was not yet complete, a performance of the work in any cathedral was considered unsuitable by no less august a body than the Church of England.
And could the elaborate score stand the resonant acoustic of the refurbished Cathedral as it stands today? In fact, it worked remarkably well, although some subtleties were lost in the cavernous space. Under the steady baton of Jonathan Willcocks (whose father was responsible for introducing the work to the Three Choirs Festival), Guildford Choral and The Chichester Singers sang capably and convincingly with a good sense of drama when they could be heard above the splendid sounds of the Royal Philharmonic Orchestra. They were served by an excellent soloist in Gareth Brynmor John, who led the forces through the heartfelt lament for Jerusalem, the Babylon ‘catalogue’, and the dramatic description of the writing of the wall, with an appropriate sense of menace from the orchestral percussion depicting an immense balance.
Elgar’s gloriously autumnal Cello Concerto received a fine performance from Pavlos Carvalho, although the long sinuous melodies were better heard than the rapid passagework of the scherzo movement. This is a work that goes straight to the heart, and soloist and orchestra both ensured that it did so.
Gareth Brynmor John had begun the evening’s proceedings with a richly-voiced and sincere performance of Vaughan Williams’s Five Mystical Songs. In that building, and in that atmosphere, George Herbert’s words rang deeply true.
On 11thNovember the Guildford Choral Society will be joined by the London-based Bach Choir for a performance of Britten’s War Requiem to coincide with the centenary of the Armistice.
The Chichester Singers, with the Southern Pro Musica orchestra, served up a mixed programme of music in Chichester Cathedral, with compositions by three composers from three centuries. They got off to a wonderful start with Handel’s Zadok the Priest, with its exciting orchestral build-up and a cracking entry by the chorus. The choir were extremely well disciplined, singing entirely from memory, watching the conductor Jonathan Willcocks, who directed the chorus and orchestra so as to achieve a powerful and well balanced delivery. Set against the ancient walls of the Cathedral, with instruments producing an 18th century sound, it was as good a performance as one could wish for. The choir and orchestra also performed a second Coronation Anthem by Handel, The King Shall Rejoice, a longer and more complex work with several contrasting movements. The chorus sang strongly and accurately, the sopranos particularly having developed a pleasant fresh sound, and the orchestra continued to give the work the atmosphere of Handel’s time.
The concert included two arias from operas by Handel. Stephanie Wake-Edwards sang Cornelia’s Lament from Giulio Cesari. Stephanie has an impressive mezzo-soprano voice and used it to convey the sorrow of a lady who has seen her husband beheaded and her son taken from her and has no one to comfort her. Hugo Herman-Wilson had a more cheerful piece from Berenice and sang in a pleasant conversational style with a strong and flexible baritone voice.
These 18th century works were followed by Hubert Parry’s extended anthem Hear My Words, Ye People, which had a contrasting Victorian sound. It was originally written with organ accompaniment, but for this performance the Singers’ organist, Richard Barnes, had written an accompaniment that included orchestral players as well as the organ. This worked well, and the chorus, organist and orchestra performed the unfamiliar work with accuracy and enthusiasm. The baritone had a solo piece in the middle of the work, which again he sang strongly and directly to the audience. In the last movement the music finally became familiar, as the movement has become one of Parry’s favourite hymns.
The final work in the concert was a major 20th century choral mass, Duruflé’s Requiem, which also was accompanied by both orchestra and organ. It is a powerful work, the orchestra plays a major part, and the chorus were singing forte for most of the performance without losing their quality. It was nice to hear the mezzo-soprano again, with a solo part where she could sing out; her lovely voice soared into the space of the Cathedral. The baritone also sang an enjoyable solo, but the performance will be mostly remembered for the powerful playing of the orchestra, organ and above all the chorus, skilfully directed by their conductor Jonathan Willcocks.
It was fitting that The Chichester Singers should choose a Requiem Mass for their autumn concert this year, falling as it did on Remembrance Day. Verdi’s masterpiece, composed by that doyen of romantic Italian opera, manages perfectly to combine the sorrow of the occasion for which it was written with the emotion that this highly charged music generates. And all the musicians involved did the work more that justice. From the lyrical opening Requiem – beautifully performed by the Singers without scores – to the fiery Dies Irae – containing some excellent brass ensemble playing, the performance as a whole came together to produce an evening to remember.
Another year of fantastic concerts has come and gone, encompassing established classical and romantic works by major composers, the first performance of a newly-commissioned work by Peter White, a terrific tour to Spain and culminating in the huge fun that we had with jazz and spiritual musical idioms (as well as singing unaccompanied Whitacre) in our June concert.
But now a new season beckons and the fare awaiting us is just as varied and tasty. First up will be one of many people’s favourites (singers and audience alike – if not percussionists who have to limber up to aim mighty swipes at a large bass drum!) Verdi–Requiem. For this concert on Remembrance Day, November 11th, we have a terrific team of soloists lined up – led by one of our very favourite singers, soprano Claire Seaton.
At Christmas we return to St. Paul’s Church for a concert of seasonal music, including Christus natus est, which the politically correct amongst us will be delighted to see is not only a contemporary work but also by a female composer, Cecilia McDowall! To support our singing in this concert, we will have the lovely soprano Harriet Eyley and the assorted twenty fingers/thumbs and four feet of Richard Barnes and Tony Froggatt – the former now fully re-equipped with new joints and raring to go.
Our March 2018 concert combines the much-loved music of Handel with the truly beautiful and expressive mid-20 century setting of the Requiem words by Duruflé, and we have also found space in this programme to include a short work, Hear my words, ye people, by English composer Parry (he of Jerusalem and I was glad fame) to mark the centenary of his death in 1918.
On Saturday May 12 , we will be holding another Singing Day in Oving Jubilee Hall, which is an excellent chance for us all to have some choral fun and also introduce friends and acquaintances who do the choral thing to the joys of The Chichester Singers.
And then we really ‘go big’ for the culmination of our 2017-2018 season, with Walton–Belshazzar’s Feast, for which we will combine with my other choir, Guildford Choral Society, to perform in Guildford Cathedral. In addition to the great Walton masterpiece (which some of you may have heard at the Proms in early August) we will also sing Vaughan Williams–Five Mystical Songs and enjoy between these works Elgar–Cello Concerto,with Pavlos Carvalho as solo cellist. And (very temporarily) forsaking our very good friends the Southern Pro Musica for this grand concert, we will be accompanied by the very distinguished Royal Philharmonic Orchestra (RPO).
Get all the concert dates and key rehearsals into your diaries – you will so regret it if, for any reason, you find yourself unavailable for any of these lovely concerts.
At the start of the second week of the Festival of Chichester, the Chichester Singers produced their concert, which had been prepared so as to suit the Festival. For those who have been attending the Singers’ concerts for some years, the programme was full of surprises. There was no major work by a famous classical composer, but rather a number of pieces by contemporary musicians, the men of the choir had taken off their black dinner jackets and appeared in shirt sleeves, there was only one soloist and there was no orchestra. But, reliably as ever, the music making was good.At the start of the second week of the Festival of Chichester, the Chichester Singers produced their concert, which had been prepared so as to suit the Festival. For those who have been attending the Singers’ concerts for some years, the programme was full of surprises. There was no major work by a famous classical composer, but rather a number of pieces by contemporary musicians, the men of the choir had taken off their black dinner jackets and appeared in shirt sleeves, there was only one soloist and there was no orchestra. But, reliably as ever, the music making Continue reading
For their latest concert, The Chichester Singers produced a programme with a variety of little-known works, most of which were based on instrumentation by organ and brass only. However, the first, and best known work was the totally unaccompanied set of choral pieces known as Rachmaninov’s Vespers. This presented a major challenge to the Singers, as not only was there no instrumental accompaniment to help them find their notes, but also the work was sung in Russian. The choir rose to the challenge admirably and delivered a fine performance of the work which evoked the feeling of Orthodox chants in a religious building. Despite the language, the sound in the Cathedral was decidedly English, and was dominated by the female voices, which were particularly sweet and clear. The basses sang manfully and produced very satisfying crescendos with their series of alleluias but lacked the sonorous sound of true Russian basses. On the other hand, a tenor in the choir (Martin Ridley) sang the short solo in the Nunc Dimittis in a splendidly Russian style.
On a bitterly cold evening in January, how wonderful to hear this dramatic retelling of the familiar Creation story with the The Chichester Singers and Southern Pro Musica, conducted by an inspirational Jonathan Willcocks. The audience were warm with appreciation even if the air was freezing. The infectious music of Haydn and his colourful instrumentation depicting God in the very act of creation was brought to life vividly by the excellent orchestra, disciplined chorus and professional soloists, Margaret Ravalde, Thobela Ntshanyana and Kieran Rayner.