AN EVENING WITH RALPH VAUGHAN WILLIAMS AND FRIENDS
An evening with Vaughan Williams and friends, followed by a picnic: ideal for a relaxed, informal summer evening. And we had an interesting mix of VW with his teachers and contemporaries.
The opening Valiant for Truth is one of VW's finest short motets and the choir was at its best, finding the buoyancy, the courage and the hope in the final "trumpets" climax with firm certainty. It was a very moving start, followed by pieces from Charles Wood, Parry, Ravel, and Bruch, with all of whom VW studied; and Holst, a great friend, whose compositional journey, though, explored rather different musical territory. The first half finished with Stanford's jovial Songs of the Fleet, given a cheerfully spirited outing and a cultured baritone solo contribution from Simon Trist.
The second half brought on the Junior Choir - ever-popular and well supported. We heard V W and Finzi: a ravishingly sensitive performance of Linden Lea - I learned it aeons ago as a treble and I love it still. Two of Finzi's Children's Songs and VW 's Ploughboy were sung with great charm, tuneful and beautifully shaped. The children were in great form.
Then they sat down to listen to their elders - and betters? - trundle through VW's Five English Folksongs, followed by Finzi's For St Cecilia, with fine contributions from two young soloists, tenor Kieran White whose top notes were a delight and trumpeter Jonathan Scott who gave the whole musical texture real sparkle. Accompanists Marcus Sealy and Nicholas Thorne provided impeccably reliable support. Finally we all stood to sing VW's 100th Psalm, again with trumpet obbligato, to bring the evening to a rousing conclusion.
A fitting memorial to the late, sadly missed, Christopher Gosland, whose contribution to this choir was immense.
©Bath Chronicle (Peter Lloyd Williams, 15th July 2008)
A Concert of French Music at Bath Abbey - 15th March 2008
It may not have been France’s day on the rugby field at Cardiff, but this rich programme of French music at the Abbey told a different story.
Fauré’s short, forceful, Tu es Petrus got us off to a clarion start, with Stephen Foulkes’ resonant baritone and the choir at full throttle.
And how good to hear Marcus Sealy showing us the full range of the Klais organ, now with added glockenspiel.
He played Vierne’s Carillon de Westminster and Naji Hakim’s Tombeau d’Olivier Messiaen, a bustling noisy piece – très farouche – which showed us what the organ – and the player – can do, but without Messiaen’s finesse and unique style.
The Choir sang Fauré’s Cantique de Jean Racine, with the men in warm mellow voice: Poulenc’s Litanies à la Vierge Noire which taxed the sopranos rather in the high top line: Messiaen’s O Sacrum Convivium, a beautifully moving little motet, sung with grace and sensitivity: and Fauré’s Ave Verum, smooth and velvety.
The Duruflé Requiem, though like the Fauré, is distinctive and wonderfully inventive, with its contrasting harmonic progressions and plainsong sequences. This was a most satisfying performance, with Penelope Davies especially effective in the hushed Pie Jesu.
Nigel Perrin conjured up some fine singing which captured the deep spirituality of the piece and its sense of reverence and Marcus Sealy’s organ accompaniment, particularly his use of the reed stops, was masterly.
©Bath Chronicle (Peter Lloyd Williams, 20th March 2008)
Carols by Candlelight 2007, The Pump Room, Bath
The song, We’ve been a while a-wandering, with Nigel Perrin on percussion, was the very apt opener as the Choir wandered in from the back, gradually getting together as they reached the stage.
And we had an eclectic combination of lively and reflective pieces from different parts of the world, some familiar, some new, imaginatively arranged to provide a fresh sound. In the Bleak Midwinter was beautifully sung, hushed and heartfelt, alongside a spirited Jesus Child by Rutter and a really lively jazzed-up version of Mary’s Boy Child by choir member, Bernard Wight and a Basque Carol – sung in Basque. The Junior Choir – now nearly 50 strong – sang Ireland’s Holy Boy, an old favourite from 50 years ago, and done here with a real sense of tenderness and a rumbustious energetic Sleigh Ride.
Two immensely talented young instrumentalists, Hetty Snell on the cello and Jennifer Hughes at the Piano played Rachmaninov’s Vocalise quite beautifully and a cheeky number, Flirtation, with total technical assurance and poise.
Finally we had a properly robust Twelve days of Christmas, followed as an encore by a hilarious spoof version by Frederick Silver, The Twelve Days After Christmas. With Marcus Sealy and Ai Yamazaki at the piano, it was exactly right – and the audience got to sing too – after a little coaching from Maestro Perrin.
©Bath Chronicle (Peter Lloyd Williams 27th December 2007)
Nigel Perrin at Sixty, The Forum, Bath, Nov 3rd 2007
He may have received his bus pass but he is as lively as ever, and his beaming smile was as broad as the Bristol Channel. It was party time and The Forum was packed with well-wishers and his four choirs - perhaps over 200 singers. The Bach Choir opened with - of course - Bach, his exuberantly joyful motet Lobet den Herrn, which lifted everyone's spirits. Then the Exeter Festival Chorus sang a group of delightful Brahms waltzes, romantic and lyrical. The Junior Choir followed with four songs, accompanied by Ai Yamazaki: I loved Bright Eyes and we all sang Do Re Mi with great gusto and good humour. Next, Camerata with a typically eclectic mix: Cloudburst, by Eric Whitacre, redolent with special effects and percussion, was very effective. And there was a birthday present, specially commissioned from Ed Hughes, The Voyager, which Nigel knew nothing about, and had to be rehearsed during his very conveniently timed visit to China, under Simon Trist. A lovely piece which I'm sure we'll hear again.
After the interval the three adult choirs sang Rossini's Petite Messe Solennelle, slightly abridged. It was a remarkable performance, these big forces controlled and precise, with some gorgeous pianissimo singing and the Camerata, placed, for reasons of space, at ground level, provided a beautiful semi-chorus, enhancing the dynamic contrast even further. Penelope Davies gave the final Agnus Dei full measure with her warm vibrant alto and the three accompanists, Peter Adcock, and Marcus Sealy at the two pianos, and Colin Hunt on a splendid 1868 harmonium, provided superb support.
And, of course, there were decorations, balloons, flowers, speeches, and finally a shower of sparklers to bring the celebrations to a suitably festive ending, by which time the smile on Nigel's face was - if possible - even broader.
©The Bath Chronicle (7th November 2007 Peter Lloyd Williams)
Summer 2007 Concert
This was an evening to be enjoyed, and the opening "Song for St Cecilia", by Ed Hughes, to Dryden's text, commissioned for this occasion, set the mood on its first outing. It is a vivid evocation of the transforming power of music with some striking orchestral effects, moving sometimes in blocks of sound, sometimes in staccato interpolations, with a particularly effective trumpet obbligato. The choir was kept on its toes sustaining the rhythmic interest and one lovely glissando before the final resolution and "the diapason closing full in man" It was an enlivening and well-crafted piece, certainly worth another hearing and the composer was there to take an enthusiastic ovation.
The Junior Choir gave us a tuneful medley of songs done with great spirit, energy and huge enjoyment before joining with their seniors in a lovely vocal arrangement of Ev'ry time I Feel the Spirit, sung with great feeling and a buoyant sense of rhythm and swing. Great stuff.
After the interval, a group of five Rutter Madrigals - written for the 75th birthday of the legendary jazz pianist George Shearing - Rutter at his most tuneful and rhythmically inventive.
Finally, Purcell's great ode Come ye Sons of Art, full of vocal goodies and given a vigorous and very musical rendition. We heard some fine solo singing from Simon Clulow (countertenor), Nigel Perrin (and very effective too), Leah Jackson (soprano) and Simon Trist (baritone). The concluding chorus with bass and soprano solos brought the whole evening to a resoundingly cheerful conclusion with the admirable Emerald Ensemble playing a major part in a splendid evening's music. A final plaudit for the two accompanists Marcus Sealy and Jamie Knights – immaculate as ever.
©Bath Chronicle
Carols by Candlelight 2006
Carols by Candlelight, sung by the City of Bath Bach Choir and Junior Choir in The Pump Room is always a first rate tonic, and this year's performances have to be rated the best ever. This impression was clearly shared by the audiences as the level of their applause showed, and confirmed by a number of individual comments. From the opening processional of the evocative "Ukrainian Bell Carol" to the romping encore - "We Wish You a Merry Christmas" - it was spellbinding stuff. There was tremendous diversity; traditional, both the well-loved and less familiar gems; and the more modern, including works by Archer ,Chilcott, Rutter, Tavener, and Willcocks - of which a number featured forms derivative of spirituals, blues, and jazz. The Choir rose splendidly to the challenges these presented and sang with feeling, discipline and control throughout. The Junior Choir sang their five numbers with comparable musicality. They have made great strides and are now a well-balanced group singing with impressive confidence.
The quality of both choirs reflects the inspiration of, and high standards demanded by, Musical Director Nigel Perrin. A glimpse of his technique was provided by the way he entertainingly encouraged and tutored the audiences for the pieces in which they participated, and all sang with gusto - thoroughly enjoying the experience. Marcus Sealy's accompaniment of the Choir, and Jamie Knights' of the Junior Choir were both impeccable.
A highlight in each of the performances was a work played by a young soloist from Wells Cathedral Music School. Polly Francis on Violin played the Czardas by Monti, Joe Shiner on Clarinet performed After You Mr Gershwin by Kovacs, and Jasmin Bennett showed the miracles that could be wrought from Recorders. All were simply outstanding. Jamie Knights, accompanying, showed again his unflappable ability to provide faultless support (even when never having previously seen the music!).
'07 Carols by Candlelight is not to be missed!
©Bear Flat Bugle
Autumn 2006 Concert
This concert presented a pleasing and elegant contrast between today's man and an old master. The Jenkins Requiem, reminiscent in form with Britten's War Requiem is tuneful, has a peaceful serenity enhanced by Japanese interpolations with their exotic instruments - in this case beautifully sung by the Junior Choir. The Choir as a whole produced a fine robust sound, controlled and well organised; and the balance with the orchestra was particularly good.
Haydn's Nelson Mass, written 200 years earlier, was given a brisk energetic performance, the choir full of warmth and colour, enjoying this very attractive and singable piece. The soloists made a very effective quartet and the whole work was polished and satisfying - with the orchestra giving exactly the right level of support under conductor Nigel Perrin. All in all it was an absolute triumph, much appreciated by a full house.
©Bath Chronicle
Summer 2006 Concert
A polished Performance of Vaughan Williams' Serenade to Music opened the programme with solos neatly taken by choir members. Then George Shearing's Who is Sylvia was a revelation - lyrical and tuneful, almost Schubertian, and sung with great style and grace. Rutter's swingy setting of There was a Lover and his Lass was suitably jazzy and toe-tapping. The Junior Choir's Saga of the Seven days by Tom Cunningham was given a rousing performance, full of sparkle and life - sung without copies too. Then some more Shearing, hauntingly jazzy, splendidly sung, before Vaughan Williams' The Cloud Capped Towers brought the metaphorical curtain down. And after a lively Hey Ho the Wind and the Rain encore, everyone went off to picnic.
This confection of settings, largely to Shakespeare's words was ingeniously linked by Christopher Gosland's interesting narrative, spoken by choir members. It was a joyful, light hearted and musical extravaganza, with Nigel Perrin in ebullient form. Marcus Sealy and Jamie Knights (Piano) and Pete Brandt (Double Bass) also gave excellent support.
©Bath Chronicle