Press information about Stamford Choral Society, reviews and forthcoming concerts.
Concert Review
Brahms - May 2009 Peterborough Cathedral
For their latest concert in Peterborough Cathedral, Stamford Choral Society chose three great compositions by Brahms - his Song of Destiny, Alto Rhapsody and German Requiem, which were well received by the large audience and certainly pleased me.
All great composers have their own distinctive sound, rather like a unique style of handwriting, which immediately identifies the writer. Brahms is no exception and from the opening of his Song of Destiny, his musical fingerprints were apparent. Written for chorus and orchestra, but without soloist, it was a good way of showing that members of the choral society were in good, enthusiastic voice, with strong and lovely sounds coming from all voice ranges. Brahms’ rich orchestral sounds were very well played by the Chameleon Arts Orchestra, members of which again showed their versatility and skill, as they do each time I hear them.
Mezzo soprano, Janet Shell, has a lighter voice than I usually associate with the Alto Rhapsody. The initial ominous chords suggest that darker tones will follow, but she sang it beautifully, with great conviction and passion.
David Lovell Brown, who has a long association with Stamford Choral Society, usually as a singer and organist, was musical director, but unfortunately only for this year. He conducted the opening of A German Requiem with all the gravity of Klemperer, so it was clearly going to be an impressive performance. With a lot of help from Brahms he drew much impressive music making from his large forces.
Brahms never wrote an opera, but he evidently had a good sense of drama, with changes of mood between different movements and sometimes in the middle of them.
Tempo changes, which can sound awkward, were all very well and effectively handled by all concerned. Both intense drama and an otherworldly quality were well captured.
There are seven movements in his Requiem, but Brahms included soloists in only three of them. In his two contributions, baritone, Robert Gildon sang with rich, resonant tones, and excellent diction, in German, but with English translation helpfully provided in the programme. Brahms was even less generous to the soprano, who is allocated only one movement, and that, apparently, was added as an afterthought. As Naomi Harvey sang very beautifully it is unfortunate that we were not able to hear more of her.
A sombre, but uplifting and musically very satisfying evening
The Kingdom - Elgar
Saturday 17 May 2008 at Peterborough Cathedral
I welcome every opportunity to wear my Elgar Society tie and an ideal occasion was provided by Stamford Choral Society when they performed Elgar’s Oratorio, The Kingdom at Peterborough Cathedral.
For many years following his death in 1934, Elgar was not popular with concert audiences. It was said that his name could empty concert halls. Fortunately, since the mid 1960s there has been a considerable revival of interest in his music. The large and enthusiastic audience at the Cathedral seemed evidence that he remains at least highly regarded.
For me, all Elgar concerts are eagerly awaited musical events, but this one was especially significant as it marked the retirement of conductor, Paul White, and it proved to be a very appropriate and memorable occasion.
Despite the current interest in Elgar amongst music lovers, The Kingdom remains a strangely neglected work. His Dream of Gerontius is much better known and continues to receive far more performances than The Kingdom throughout the world and there have been no new recordings of the lesser known masterpiece for nearly twenty years. I was delighted when, for his farewell concert, Paul White chose The Kingdom, which I know is his favourite Elgar work - and mine.
The lengthy prelude, in which Elgar introduces many of the themes to be heard during the work, was an ideal chance to hear the quality of orchestral playing, and it was apparent from the beginning that the Chameleon Arts Orchestra was in fine form.
Members of the chorus may have thought that they would be fighting a losing battle to be heard, as some of Elgar’s orchestration can be rather loud, but the choral sound carried very successfully across the orchestra to the audience. I don’t know if they are all Elgarians, but they all seemed very committed and enthusiastic, pouring forth much glorious sound.
Stamford Choral Society has a tradition of always engaging excellent soloists and I cannot imagine a better quartet than they assembled, (certainly not on the two excellent recordings I have). Elgar provides a lot of music for the baritone in The Kingdom, so I was very pleased to see a welcome return by Christopher Maltman, whose sonorous tones filled the Cathedral, together with Emma Bell, Leigh Woolf and Daniel Norman, who have all provided much delight in previous Stamford Choral Society concerts and did so again throughout The Kingdom.
Paul White, who I think looks remarkably like Wagner on the rostrum, conducted a very dramatic, exciting reading, with appropriate “feel” for Elgar. The conductor certainly does make a very significant impact on a musical performance and his it was all positive, which cannot be said for every concert I attend.
The hushed tones which end The Kingdom, would have, I am sure, sent the audience away very satisfied with the evening, but this time there was an inspired epilogue, by the inclusion of Beim Schlafengehen, one of the Four Last Songs by Richard Strauss, sung very beautifully, by Emma Bell. The words were highly appropriate for a retirement. Elgar and Richard Strauss were mutual admirers and friends, although both with very distinctive musical styles. The violin solo in the song was played with great sensitivity by orchestra leader, Andrew Smith.
An evening to treasure!
Paul Limming, May 2008
Stamford Choral in Belgium
35 singing members from Stamford Choral Society, plus supporters, make up a party of 50 who will travel to Belgium on Thursday 27 March 2008.
Based in Brussels, the group will perform a concert in association with Kalison, the celebrated Belgian brass ensemble, in the magnificent surroundings of Onze-Lieve-Vrouw Kerk, Sint-Niklaas and sing Mass at St Boniface Church, Antwerp. In addition, there will be sightseeing opportunities in Brussels, Ghent, Antwerp and Bruges before they head back home on Monday 31 March 2008.
Onze-Lieve-Vrouw Kerk,
Sint-Niklaas
Notice posted 29 Feb 2008
Verdi Requiem, Broadway Theatre
13 May 2007
I always have feelings of great excitement when I enter an auditorium and hear an orchestra tuning up for a concert. The same feelings of anticipation returned when I walked to my seat in the Broadway Theatre and heard the Chameleon Orchestra which was to join Stamford Choral Society for their latest concert.
Following their highly successful Mozart Requiem a few months ago in their home town, the Stamford forces chose Verdi’s Requiem, another major work in the choral repertoire for their annual visit to Peterborough.
Despite his early years as a church organist, Verdi was an agnostic, so he may have approved of the venue for this year’s concert, The Broadway Theatre, instead of the Cathedral where their concerts are usually performed. Having usually heard this type of musical work in an ecclesiastical setting I had wondered if it might sound “dead”, (perhaps an unfortunate term to use when reviewing a Requiem), in the theatre, but it sounded surprisingly atmospheric, with the different choral voices emerging with great clarity and much orchestral detail, which can sometimes be lost in other venues.
As usual, Stamford Choral Society had assembled a distinguished line up of soloists for their concert. This time they were joined by Claire Seaton, Victoria Simmonds, Daniel Norman and Paul Keohone, all making welcome returns to Peterborough. Claire Seaton can float a top line beautifully and I would like to see the excellent mezzo, Victoria Simmonds, in an operatic role. The versatile Daniel Norman sang with this Society in their previous performance of the Verdi Requiem in 1998 and has since appeared with them in works by Elgar and Bach. I was especially pleased to see Paul Keohone, whose opera performances I have greatly enjoyed at other venues.
I have read that Verdi’s Requiem is unlike any of his other works, but it has his musical fingerprints throughout and I am sure that I heard echoes of Aida, Rigoletto and Don Carlos at various points.
Verdi’s Requiem is sometimes criticised for being too operatic, but that is hardly surprising as most of his other considerable output were operas. There are certainly plenty of dramatic sections within the Requiem, but they are also contrasting periods of repose.
There are many highlights in Verdi’s Requiem, but the best known is no doubt the Dies Irae, which under the clear, enthusiastic and inspired direction of conductor, Paul White, sounded as exciting as any I have heard, both live and recorded. Verdi evidently considered it one if his better inspirations as he used the same opening theme later in the Requiem. For me, the best part of the evening, was the opening of the Offertorio, which I regard as one of the most beautiful pieces of music composed by Verdi, or anyone else.
Paul Limming
May 2007
Mozart Requiem - concert review
Mozart did not live to complete his Requiem, but it remains one of his most popular compositions. Stamford Choral Society chose it as the main work for their final concert of 2006, the composer’s 250th birthday year.
It proved to be a good choice and received a well paced, moving performance with the chorus in excellent form, four very good soloists who blended well together, and the ever reliable Chameleon Arts Orchestra, under the direction of conductor, Paul White.
Tempi never flagged in what was often a very dramatic interpretation – far from it, as the Dies Irae received one of the fastest and most exciting performances I have heard. I was particularly impressed by mezzo soprano, Juliette Pochin and tenor, Christopher Watson, whose voices, I thought, were ideal for Mozart.
Stamford School Hall is not an ideal venue for such occasions, as the space needed to accommodate the orchestra must restrict the audience capacity, (which appeared to be a “full house”, as usual), and such works tend to benefit from being performed in ecclesiastical buildings with greater atmosphere and better acoustics.
I have known Grieg’s Holberg Suite for many years, but must thank Paul White and the Chameleon Arts Orchestra for giving me the opportunity to hear it “live” for the first time. They included it as the only purely orchestral item on Saturday evening. Originally written as a piano piece, Grieg later arranged it for strings, which was the version given at Stamford. The enthusiastic, if premature applause after the first section, clearly indicated that the audience was sharing my enjoyment.
As the concert was being given a few days before Christmas, their varied programme included some Festive Music with some well known carols, which sounded very impressive when played with full orchestration, and were sung very well by the chorus, with added vocal contributions from the audience. The Society can be pleased with their latest concert, which sent the audience home, on a rather cold evening, with some feelings of warmth, if only spiritual.
I am pleased to see that for their next concert, Stamford Choral Society will be returning to Peterborough, but this time with the Verdi Requiem, for their first appearance at the Broadway Theatre on May 13.
Paul Limming
17 December 2006
Date: 29th October 2006
TICKETS ON SALE FOR SPECIAL CHORAL CONCERT
Full press release in Word document here
Stamford Choral Society is marking the 250th anniversary of Mozart’s birth by performing his famous ‘Requiem’ at their annual Christmas Concert to be held at Stamford School Hall, on Saturday 16 December 2006 at 7.30pm. One of the finest choral works to have ever been written, the performance by Stamford Choral Society will feature a strong quartet of experienced and award-winning soloists, accompanied by a full orchestra of the Chameleon Arts Orchestra and conducted by the society’s Musical Director, Paul White. The concert will also include seasonal music for choir and audience and a selection of additional orchestral music. Admission tickets are priced at £10 (£7.50 for concessions) and may be purchased on the day or in advance from Stamford Arts Centre, telephone 01780 763203. For general information visit www.stamfordchoral.org -Ends-
NOTES TO EDITOR: Established in 1879, Stamford Choral Society is one of the largest classical choral organisations in the South Lincolnshire and Greater Peterborough area and with over 170 members, bring top choral events to the region.
Two of the most famous Stamfordians of the musical world have been associated with Stamford Choral Society; Sir Malcolm Sargent, who was born in Stamford, was a conductor and later appointed as the society’s President for 20 years until his death in 1967 and Sir Michael Tippett, who attended Stamford School and has also been President. The society’s current President is Colin Dexter OBE, another Stamfordian, known principally as a novelist and creator of the music-loving TV detective, Inspector Morse.
Requiem Mass (K626) in D Minor was written by Wolfgang Amadeus Mozart in 1791. Although unknown to Mozart, the Requiem was commissioned by Count Franz Walsegg-Stupach, as a memorial for his wife and as it turned out, was to be Mozart’s last piece of music. Ill with fever, Mozart got sicker and sicker writing the Requiem and without completing it, he eventually died on 5 December 1791, at the age of 35. He had left notes on the first seven sections and the day before his death he had been well enough to sing parts of the incomplete Requiem with his friends.
After Mozart’s death, Franz Sussmayr, who had been one of Mozart’s students, completed the work at the request of Mozart’s wife, Conztance and although it was not ready to be played at Mozart’s funeral, it has been played at memorials ever since.
The Requiem is for four solo voices (soprano, alto, tenor and bass), chorus and small orchestra. The orchestration is uncommon as it uses basset horns to make the piece sound more solemn.
This year’s soloists are: Rebecca Outram (soprano), Juliette Pochin (mezzo-soprano), Christopher Watson (tenor) and Robert Macdonald (bass-baritone). Rebecca Outram has award-winning recordings of Monteverdi motets to her credit; Juliette Pochin has vast international experience and in addition to her singing composes and produces as one half of the partnership Morgan Pochin; Christopher Watson also has vast international experience as a recitalist and Robert Macdonald is a founder member of two ensembles which have recently won the coveted Gramophone Award for Early Music, namely The Cardinall’s Musick and The Clerks’ Group and has also appeared on the opera stage and concert platform.
IMAGES AVAILABLE UPON REQUEST
Contact Details: Please use our contact form to get in touch.