All welcome to rehearsals - 7.30pm, Christ's Church, Harrogate
07711 945929
Voices and Organ - The Music of Britain and France
Saturday 28 October 2023 at 3.00 pm
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In St Wilfrid's Church, Harrogate Conducted by David Lawrence with Thomas Moore, Organ |
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This was an afternoon concert - the decision taken by HCS to trial such a concert following comments that people did not like coming out after dark and also that evening concerts were not possible for young children.
A large audience, including quite a good number of young children, enjoyed an afternoon of lovely music including Truly I Tell you by Judith Weir (Master of the Kings Music), unaccompanied motets by Durufle - Ubi Caritas et Amor, Tota Pulchra Es, Tu Es Petrus and Tantum Ergo, and Stanford - Justorum Animae, Coelos Ascendit Hodie and Beatum Quorum Via. Further french music included Faure's Cantique de Jean Racine and Berlioz's Shepherds Farewell and delightful but not well known piece - Sous Bois by Lili Boulanger - for which Thomas Moore moved from organ to piano. Included amongst the choir works were two organ solos by Tom -the first movement of Elgar's Organ Sonata Op28 and in the second half Bolero de Concert by Lefebure-Wely which was a truly joyful piece. The concert started with the well known Zadok the Priest by Handel and ended in truly jubilant fashion by Parry's Blest Pair of Sirens - appreciated by one gentleman in the audience so much he sprang up to give a standing ovation!
Audience comments include
"Fabulous concert. I really enjoyed it. Tremendous first and last pieces bookending a more reflective middle. I loved the venue: easy to find and easy to park . Really appreciated an afternoon concert especially in the Autumn winter period"
"Just to let you know I thoroughly enjoyed yesterday’s performance at St.Wilfrid’s. The singing , the music, the conductor and the organist were exquisite ! … an afternoon performance … why not ? Far better and much more inspiring than shopping ! Look forward to more performances"
"I came unconvinced. I mean, the afternoon? St Wilf's not the Royal Hall? An apparently disparate programme? Well, you won over this naysayer. The venue was right, the sound superb and the programming worked - David spoke long enough to be informative without veering into intrusive. The contrast of Stanford with Durufle was fascinating and to "bookend" the afternoon with Zadok and Sirens worked really well to boot. I reckon, a triumph."
"A wonderful event with stunning singing and a very interesting programme. I would support the idea of afternoon concerts, particularly in the dark winter and spring months, suitable for the profile of the audience, so much better to be going home in the late afternoon rather than late at night. The words of introduction from David Lawrence were splendid, not only “warming up” the audience but also providing information about the composers and a context to the individual pieces. All best wishes and congratulations again.”
The Harrogate Proms (with Harrogate Symphony Orchestra)
Saturday 24 June 2023 at 7.30 pm
Harrogate Convention Centre
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with
Sarah Fox, Soprano and Liz Green, Compere Jointly conducted by Bryan Western Harrogate Symphony Orchestra Music Director and David Lawrence Harrogate Choral Society Music Director |
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Two leading musical organisations, the Harrogate Symphony Orchestra and Harrogate Choral Society joined forces to present a special showcase concert to raise funds for the Harrogate Hospital and Community Charity. Singers from HCS will be joined by other local singers, all known as ‘Voices for Harrogate’. The programme featured a feast of operatic and ‘proms’ favourites as well as other popular works, such as Carl Orff’s ‘O Fortuna’, Verdi’s ‘Grand March’ from Aida, Borodin’s ‘Polovtsian Dances’ and the Suite from the ‘Armed Man’ by Karl Jenkins, plus songs with soprano soloist Sarah Fox. Of course it all ended with audience participation including flag waving and hooters, making it a night to remember as well as supporting our local hospital charity.
Gounod - St Cecilia Mass & Puccini - Messa di Gloria
Saturday 11 March 2023, The Royal Hall, Harrogate
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with
Georgie Malcolm, Soprano Richard Dowling, Tenor Alex Ashworth, Bass Manchester Camerata Guest Conductor Brian Kay, HCS President |
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THIRD TIME LUCKY
Having been thwarted twice by Covid from performing the Puccini Messa di Gloria, finally on Saturday 11 March 2023 the principal choir of the Harrogate Choral Society was able to sing this particularly glorious “Gloria” in the Royal Hall, Harrogate. This time partnered with Gounod’s Messe Solennelle de Sainte Cecile (St Cecilia Mass) instead of the previously planned accompaniment of Rossini.
This performance was well worth the wait with the choir, three excellently balanced soloists – Georgie Malcolm, Soprano; Richard Dowling, Tenor and Alex Ashworth, Baritone, and the Manchester Camerata all in excellent form under the baton of the HCS President Brian Kay.
The first half of the concert featured the Gounod which was , completely new to most of the choir. It is a superb work for singers which starts with the choir singing a gentle Kyrie, then joined by soloists, before rising to a beautiful crescendo,with soprano Georgie soaring over the choir, before coming to a peaceful conclusion. Each following movement was equally superb with choir and soloists singing in partnership. The first few movements are in the secular style of church music but as the work progresses Gounod’s operatic leanings are made evident. His outstanding gift for composing enthralling melodies certainly shone throughout all the movements, displaying a skilled blend of sacred and secular styles.
Particular mention should be made to the woodwind section of the Manchester Camerata who so beautifully accompanied Tenor Richard and Baritone Alex in their various solos.
The work concludes with Agnus Dei ending peacefully on a swelling amen.
The second half of the concert comprised the long awaited Puccini, featuring just the tenor and baritone soloists. Due to the previous set backs the choir had ample time to rehearse this work and this was evident in the performance. Brian Kay opted to perform the Gloria at the end of the work rather than as the traditional second movement and this made for a suitably grand ending for this very operatic work.
The Gloria itself is a joyful hymn of praise and Puccini's composition was written as his graduation thesis. It is therefore an unmistakably youthful work, but shows a mature grasp of musical conventions and is evidence of his operatic promise.
In the Credo tenor Richard sang a wonderfully sensitive Et Incarnatus Est, accompanied by the choir. Baritone Alex’s turn came in the Benedictus and he also sang superbly. Both joined the choir in the peaceful Agnus Dei before the work concluded with the Gloria in appropriately glorious style.
It is such a shame that the weather prevented many from attending this concert as it will certainly remain in the memories of those there as one of the best Harrogate Choral Society has presented.
Anita Seaman
Having been thwarted twice by Covid from performing the Puccini Messa di Gloria, finally on Saturday 11 March 2023 the principal choir of the Harrogate Choral Society was able to sing this particularly glorious “Gloria” in the Royal Hall, Harrogate. This time partnered with Gounod’s Messe Solennelle de Sainte Cecile (St Cecilia Mass) instead of the previously planned accompaniment of Rossini.
This performance was well worth the wait with the choir, three excellently balanced soloists – Georgie Malcolm, Soprano; Richard Dowling, Tenor and Alex Ashworth, Baritone, and the Manchester Camerata all in excellent form under the baton of the HCS President Brian Kay.
The first half of the concert featured the Gounod which was , completely new to most of the choir. It is a superb work for singers which starts with the choir singing a gentle Kyrie, then joined by soloists, before rising to a beautiful crescendo,with soprano Georgie soaring over the choir, before coming to a peaceful conclusion. Each following movement was equally superb with choir and soloists singing in partnership. The first few movements are in the secular style of church music but as the work progresses Gounod’s operatic leanings are made evident. His outstanding gift for composing enthralling melodies certainly shone throughout all the movements, displaying a skilled blend of sacred and secular styles.
Particular mention should be made to the woodwind section of the Manchester Camerata who so beautifully accompanied Tenor Richard and Baritone Alex in their various solos.
The work concludes with Agnus Dei ending peacefully on a swelling amen.
The second half of the concert comprised the long awaited Puccini, featuring just the tenor and baritone soloists. Due to the previous set backs the choir had ample time to rehearse this work and this was evident in the performance. Brian Kay opted to perform the Gloria at the end of the work rather than as the traditional second movement and this made for a suitably grand ending for this very operatic work.
The Gloria itself is a joyful hymn of praise and Puccini's composition was written as his graduation thesis. It is therefore an unmistakably youthful work, but shows a mature grasp of musical conventions and is evidence of his operatic promise.
In the Credo tenor Richard sang a wonderfully sensitive Et Incarnatus Est, accompanied by the choir. Baritone Alex’s turn came in the Benedictus and he also sang superbly. Both joined the choir in the peaceful Agnus Dei before the work concluded with the Gloria in appropriately glorious style.
It is such a shame that the weather prevented many from attending this concert as it will certainly remain in the memories of those there as one of the best Harrogate Choral Society has presented.
Anita Seaman
Handel - Messiah
Saturday 10 December 2022, The Royal Hall, Harrogate
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with
Kathryn Jenkin, Soprano Gaynor Keeble, Mezzo David Woods, Tenor Andrew Mayor, Bass Manchester Camerata Conducted by David Lawrence, HCS Music Director |
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There are many works of classical music that are known to the general public. The Hallelujah chorus from Handel’s Messiah is possibly one of the most famous pieces of music ever written, even though it comprises only a small section of the complete work.
Messiah is known as one of the greatest musical works ever produced and it wouldn’t be Christmas without the opportunity to hear this great Oratorio – a form of music that contains dramatic lyrics like an opera, but which is staged as a concert without sets or acting.
Messiah is known as one of the greatest musical works ever produced and it wouldn’t be Christmas without the opportunity to hear this great Oratorio – a form of music that contains dramatic lyrics like an opera, but which is staged as a concert without sets or acting.
The Harrogate Christmas Concert
Saturday 3 December 2022, Harrogate Convention Centre
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A heart-warmingly enthusiastic and participative full house celebrated a truly civic event. There can be
few communities which can stage a production such as Harrogate put on last night. Performers, that is to say orchestra, choir and schools, numbered the best part of 500, before an audience of some 1500. The packed arena was awash with light and colour. And of course with music. |
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From the moment the HSO swung into Sleigh Ride under the festive baton of Bryan Western the Christmas mood was struck. The choir’s performance of the Reindeer on the Roof dance routine was its best yet, as indeed was that of the audience. The variety of antlers, flashing red noses, elf caps and outsize glittery Edna Everage glasses was, in the case of the latter quite literally, spectacular. And that was just HCS.
HCS shone, not least in its very well-received unaccompanied performance of Three Kings, with soloist Dan Hutton in great voice. Beati, despite being forced into late tactical changes, produced a true team performance and rose to the occasion majestically.
Santa duly arrived, fashionably late, high-fiving younger members of the audience and planting an unexpected smacker of a kiss on the Mayor.
Our very own Marilynne Davies who, together with Bryan Western, created this annual Harrogate fixture over twenty years ago and has so very generously devoted to it limitless effort, time and professional enthusiasm, took her final curtain call. She bowed out in consummate style, an elegant and polished performance to the end. A fitting finale. Thank you Marilynne. For everything.
HCS shone, not least in its very well-received unaccompanied performance of Three Kings, with soloist Dan Hutton in great voice. Beati, despite being forced into late tactical changes, produced a true team performance and rose to the occasion majestically.
Santa duly arrived, fashionably late, high-fiving younger members of the audience and planting an unexpected smacker of a kiss on the Mayor.
Our very own Marilynne Davies who, together with Bryan Western, created this annual Harrogate fixture over twenty years ago and has so very generously devoted to it limitless effort, time and professional enthusiasm, took her final curtain call. She bowed out in consummate style, an elegant and polished performance to the end. A fitting finale. Thank you Marilynne. For everything.
A Trio of Magnificats
Sunday 13 November 2022, St Wilfrids Church, Harrogate
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Featuring Soprano Susanna Fairbairn and soloists from the Royal Northern College of Music - Jane Burnell Soprano, Morgana Warren-Jones Mezzo, Rowan Gillard Tenor and Jonathan Hill, Bass Orchestra Pro Musica Conducted by David Lawrence, HCS Music Director |
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This concert started with Paul Ayres' Echo Magnificat featuring Soprano Susanna Fairbairn with the choir echoing the same line a few beats later. The singers were accompanied by the strings from the orchestra. This was followed by Bach's Magnificat, a work conceived on a grand scale with five soloists and a five part choir. The ten verses and Gloria form a continuous and homogenous whole, in contrast with the libretto of an oratorio or Passion. There are no recitatives, instead the chorus sing the more emphatic sections while the more reflective verses are assigned to the soloists. It was a delight to hear the four young singers from the RNCM as well as Susanna. In the final verse Bach appropriately mirrors the words by recalling the music that was heard ‘as it was in the beginning’ and his Magnificat ended the first half of the concert in with true exuberance.
After the interval the choir and Susanna returned to perform John Rutter's interpretation -his inspiration being none other than that of JS Bach. While Bach structured the first verses of the canticle in several movements of different scoring, Rutter unites the first three verses in one choral movement. The principal similarity being that both composers recall music in the final movement which was heard in the first.
Anita Seaman
After the interval the choir and Susanna returned to perform John Rutter's interpretation -his inspiration being none other than that of JS Bach. While Bach structured the first verses of the canticle in several movements of different scoring, Rutter unites the first three verses in one choral movement. The principal similarity being that both composers recall music in the final movement which was heard in the first.
Anita Seaman
Voices, Organ and Brass
Saturday 25 June 2022, St Wilfrids Church, Harrogate
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Harrogate Choral Society had a fallow period, due to Covid 19, as did all other such societies. Their first concert since lockdown 2020 was on 13th November 2021 in the Royal Hall with their new conductor, David Lawrence, performing a programme that had been planned before his appointment, containing works by Elgar and the Brahms Requiem. Tonight’s concert in St. Wilfrids Church, entitled “Voices, Organ & Brass” was very much a joyful, celebratory programme. A fitting celebration by Harrogate Choral Society of the first concert wholly prepared by their new conductor! David Lawrence comes with the highest qualifications and experience of choral work that any Society could wish for, both nationally and internationally.
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The brass group had a very heavy responsibility throughout the evening. They were Cobalt Brass, an ensemble of orchestral brass instrumentalists, who met whilst studying at the Royal Northern College of Music. It is important to note the distinction between such a group and a brass band that is a very different entity, both in respect of the instruments used and the number of players. In some of the works, percussion instruments had an important role which was taken by the Northern Percussion Ensemble who also came highly qualified, formed from musicians from all the major UK orchestras. Another important partner in the event was the building – the grand St. Wilfrids Church! Including the organ of course, but the original pipe organ is unfortunately in need of major restoration, so a fine electronic instrument is currently used.
The programme began with the very good choice of ‘Behold a Great Priest’ by James MacMillan, written for the Consecration of Bishop Hugh Gilbert in 2011 and set in Latin. It begins with just two trumpeters, who played from the back of the church, then the choir entered, singing in Antiphonal style, first the men from the south, then joined by the women entering from the north – a nice touch. The organ also joined in this piece of simple but effective construction and forces. Next we heard the popular (and seemingly compulsory at Coronations) I Was Glad by Hubert Parry, words from Psalm 122 and began of course by the full brass ensemble and a bright arresting tone from the chorus, who were somewhat overpowered occasionally. The short “Vivat Regina” section was included (often cut for concert performances) to mark this special year for our Queen.
Cobalt Brass then gave us two pieces, performed without conductor, Sinfonia La Bergamasca by the 16th/17th Century composer Viadana, including some nifty trumpet work followed by an arrangement of Elgar’s Nimrod. Before the interval we heard Seascape by Christopher Brown, who was present at the concert. It is a very distinctive work to celebrate Borlase Smart, the St. Ives artist, famous for his seascapes, with words by Bob Devereux. The difficulties in pitch and rhythm of the solo vocal lines were taken with apparent ease by Soprano Aoife O’Connell and Baritone Andrew Mayor. The brass quintet was equally exercised in this highly descriptive atonal work. The setting of the words is in the nature of recitative, but precisely notated. The choir as a whole has few concerted moments and is usually women’s and men’s voices separately, who, as far as I could understand, coped well. In the early part of the work, some of the words are given to a reciter, in this case performed by Oliver Longstaff. Two particular effects worked beautifully, one being a chorus chord sliding slowly, softly, downwards representing the sinking of ships and the other, the mimicking of soft winds, again by the full choir.
Next, following the Interval, we heard ‘Make a Joyful Noise’ by Edward Gregson with words from Psalm 100 which included copious percussion, giving a dramatic change of tone colour. The work certainly lived up to its title! The name of the organist (you may have wondered) is Thomas Moore. He is, amongst other duties, deputy music director of Harrogate Choral Society and performed a fiendishly difficult Toccata & Fugue by Gerald Hendrie, which was fully appreciated and admired by the other musicians present, as well as the audience.
Finally, the ever popular Gloria by John Rutter which David Lawrence conducted from memory, was accompanied by the full forces of all instrumentalists present. The second of the three movements featured the delightful, plaintive and decorative organ part and solos for three lucky female members of the chorus. Mr. Rutter and all the performers provided a great finale to the concert. Well done!
HENRY PANKHURST
The programme began with the very good choice of ‘Behold a Great Priest’ by James MacMillan, written for the Consecration of Bishop Hugh Gilbert in 2011 and set in Latin. It begins with just two trumpeters, who played from the back of the church, then the choir entered, singing in Antiphonal style, first the men from the south, then joined by the women entering from the north – a nice touch. The organ also joined in this piece of simple but effective construction and forces. Next we heard the popular (and seemingly compulsory at Coronations) I Was Glad by Hubert Parry, words from Psalm 122 and began of course by the full brass ensemble and a bright arresting tone from the chorus, who were somewhat overpowered occasionally. The short “Vivat Regina” section was included (often cut for concert performances) to mark this special year for our Queen.
Cobalt Brass then gave us two pieces, performed without conductor, Sinfonia La Bergamasca by the 16th/17th Century composer Viadana, including some nifty trumpet work followed by an arrangement of Elgar’s Nimrod. Before the interval we heard Seascape by Christopher Brown, who was present at the concert. It is a very distinctive work to celebrate Borlase Smart, the St. Ives artist, famous for his seascapes, with words by Bob Devereux. The difficulties in pitch and rhythm of the solo vocal lines were taken with apparent ease by Soprano Aoife O’Connell and Baritone Andrew Mayor. The brass quintet was equally exercised in this highly descriptive atonal work. The setting of the words is in the nature of recitative, but precisely notated. The choir as a whole has few concerted moments and is usually women’s and men’s voices separately, who, as far as I could understand, coped well. In the early part of the work, some of the words are given to a reciter, in this case performed by Oliver Longstaff. Two particular effects worked beautifully, one being a chorus chord sliding slowly, softly, downwards representing the sinking of ships and the other, the mimicking of soft winds, again by the full choir.
Next, following the Interval, we heard ‘Make a Joyful Noise’ by Edward Gregson with words from Psalm 100 which included copious percussion, giving a dramatic change of tone colour. The work certainly lived up to its title! The name of the organist (you may have wondered) is Thomas Moore. He is, amongst other duties, deputy music director of Harrogate Choral Society and performed a fiendishly difficult Toccata & Fugue by Gerald Hendrie, which was fully appreciated and admired by the other musicians present, as well as the audience.
Finally, the ever popular Gloria by John Rutter which David Lawrence conducted from memory, was accompanied by the full forces of all instrumentalists present. The second of the three movements featured the delightful, plaintive and decorative organ part and solos for three lucky female members of the chorus. Mr. Rutter and all the performers provided a great finale to the concert. Well done!
HENRY PANKHURST
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Messiah
Saturday 11 December 2021 Royal Hall, Harrogate How wonderful it was to be back in the Royal Hall, with a near capacity audience, listening live to the wonderful music of Handel’s ‘Messiah’ performed by the Harrogate Choral Society, soloists, and Manchester Camarata all guided by the chorus’s President, Brian Kay.
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Although often associated with Christmas, the musical texts in ‘Messiah’ describe the prophecies of the Coming of the Saviour, Christ’s Passion and Second Coming and the role of the resurrected Christ as Saviour. First performed in Dublin in April 1742, this substantial work was completed in only three weeks and remains, to this day, one of the most respected, admired and hugely loved oratorios.
It was a poignant evening for the chorus with this performance being dedicated to the memory of Peter Thompson, a well loved and cherished member of the chorus who gave over 40 years service, in a number of roles, to the Society and who died one year to the day of this performance. This was a performance that Peter would have approved of, I’m sure.
Brian Kay thanked the choir for their gloriously heartfelt singing, in this very special concert. The chorus excelled particularly in Part Two of the work, where ‘Behold the Lamb of God’ and the ‘Hallelujah Chorus’ were choral highlights.
The soloist were also in good form. James Micklethwaite, tenor, had a light and unforced sound which he exploited well in ‘Thy rebuke hath broken his heart’. Jerome Knox, Baritone, had a rich and vibrant sound and was suitably dramatic when needed, particularly in the aria ‘Why do the nations so furiously rage together’. The mezzo soprano Angharad Lyddon’s rendition of ‘He was despised’ was beautifully measured and sung with feeling. Sarah Fox, soprano was excellent. Her singing was effortless and her clear understanding of the texts allowed her to provide the listener with a range of vocal colours and timbres throughout. ‘How beautiful are the feet’ and ‘I know that my redeemer liveth’ were highlights of the whole performance.
Manchester Camerata, provided a balanced sound accompanying both chorus and soloists perfectly, not always an easy feat in such an acoustic as the Hall.
Brian Kay’s direction of the music was sensitive, controlled and unfussy bringing out the best in all forces. Well done to him and to all on such a fine performance.
Paul Dutton
It was a poignant evening for the chorus with this performance being dedicated to the memory of Peter Thompson, a well loved and cherished member of the chorus who gave over 40 years service, in a number of roles, to the Society and who died one year to the day of this performance. This was a performance that Peter would have approved of, I’m sure.
Brian Kay thanked the choir for their gloriously heartfelt singing, in this very special concert. The chorus excelled particularly in Part Two of the work, where ‘Behold the Lamb of God’ and the ‘Hallelujah Chorus’ were choral highlights.
The soloist were also in good form. James Micklethwaite, tenor, had a light and unforced sound which he exploited well in ‘Thy rebuke hath broken his heart’. Jerome Knox, Baritone, had a rich and vibrant sound and was suitably dramatic when needed, particularly in the aria ‘Why do the nations so furiously rage together’. The mezzo soprano Angharad Lyddon’s rendition of ‘He was despised’ was beautifully measured and sung with feeling. Sarah Fox, soprano was excellent. Her singing was effortless and her clear understanding of the texts allowed her to provide the listener with a range of vocal colours and timbres throughout. ‘How beautiful are the feet’ and ‘I know that my redeemer liveth’ were highlights of the whole performance.
Manchester Camerata, provided a balanced sound accompanying both chorus and soloists perfectly, not always an easy feat in such an acoustic as the Hall.
Brian Kay’s direction of the music was sensitive, controlled and unfussy bringing out the best in all forces. Well done to him and to all on such a fine performance.
Paul Dutton
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Brahms and Elgar
Saturday 13 November 2021 Royal Hall, Harrogate Two musical giants of their time brought Harrogate Choral Society back to the stage after their long-enforced absence, with a first appearance of their new Music Director / Conductor David Lawrence and accompanied by the brothers Thomas and Stephen Moore on two pianos.
First up were two anthems by Elgar – the gentle Ave Verum and the more robust and varied Give unto the Lord. They were well executed by the choir with admirable attention to detail and responsiveness to Elgar’s trademark demands for dynamic flexibility. |
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I was initially uncertain as to how Elgar’s quintessentially orchestral Enigma Variations would work in an arrangement for two pianos – albeit by the composer himself. I need not have worried, since a scintillating performance by the two pianists revealed a new perspective on this captivating work.
The second half was devoted to Brahms’s very personal and much loved Ein Deutsches Requiem in a two piano version prepared by Brahms himself. Joining the choir were soprano Laurie Ashworth and baritone Adam Green, whose contributions were excellent. The lyrical soprano passage “Ihr habt nun Traurigkeit” (and ye therefore now have sorrow), and the atmospheric baritone section “Herr, lehre doch mich” (Lord make me to know mine end) being particulary notable. The choir interpreted well the emotional impact of Brahms’s score – form the meditative opening “Selig sind die da Leid tragen” (Blessed are they that mourn for they shall be comforted), through the gracious “Wie lieblich sind deine Wohnungen” (How amiable are thy dwellings O Lord) to the triumphant fugal “Die Erloseten des Herrn” (And the ransomed of the Lord) in the second movement and the defiant , explosive, “Der Tod ist versschlungen” (Death is swallowed up in victory) in the sixth. Some slight lapse of tuning towards the end of the work can be forgiven in a vocal tour de force when the choir is seldom off its feet, having no chance properly to gather breath.
Altogether a satisfying return for the Choral Society – it’s great to see them back in business with a performance of their usual high quality.
Iain Ward Campbell
The second half was devoted to Brahms’s very personal and much loved Ein Deutsches Requiem in a two piano version prepared by Brahms himself. Joining the choir were soprano Laurie Ashworth and baritone Adam Green, whose contributions were excellent. The lyrical soprano passage “Ihr habt nun Traurigkeit” (and ye therefore now have sorrow), and the atmospheric baritone section “Herr, lehre doch mich” (Lord make me to know mine end) being particulary notable. The choir interpreted well the emotional impact of Brahms’s score – form the meditative opening “Selig sind die da Leid tragen” (Blessed are they that mourn for they shall be comforted), through the gracious “Wie lieblich sind deine Wohnungen” (How amiable are thy dwellings O Lord) to the triumphant fugal “Die Erloseten des Herrn” (And the ransomed of the Lord) in the second movement and the defiant , explosive, “Der Tod ist versschlungen” (Death is swallowed up in victory) in the sixth. Some slight lapse of tuning towards the end of the work can be forgiven in a vocal tour de force when the choir is seldom off its feet, having no chance properly to gather breath.
Altogether a satisfying return for the Choral Society – it’s great to see them back in business with a performance of their usual high quality.
Iain Ward Campbell
FREE Men's Open Rehearsal
Saturday 18th January 2020
Harrogate Cricket Club, St Georges Road, Harrogate HG2 9BP
Harrogate Cricket Club, St Georges Road, Harrogate HG2 9BP
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This event was an excellent start to 2020 where a good number of potential tenors and basses spent a fun morning singing with some of our members. The music covered popular songs and choruses from across a wide range of repertoire under the humorous and inspirational guidance of our Music Director Andrew Padmore.
This resulted in some new members - if you missed this event it is never too late to join - just get in contact using our website contact form at any time. |
The Harrogate Christmas Concert
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Saturday 14th December 2019
Harrogate Convention Centre |
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The 2019 concert is the 20th year in the Convention Centre for this fantastic family event.
For more information please read the history of the concert |
Another successful concert with approximately 300 primary school singers joining Harrogate Choral Society and Harrogate Symphony Orchestra in this family friendly concert. There are so many schools in the district that each school only gets the chance to perform at this concert every three years and they really enjoy the opportunity to sing with full orchestra and in the huge Harrogate Convention Centre. Once again we enjoyed some lovely singing from the ladies choir Beati and Santa managed to drop in with some little gifts for all the performing children and those in the audience. You can see lots of lovely photos from the concert here
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Handel - Messiah
Sunday 8th December 2019 The Garden Rooms, Tennants of Leyburn "a performance with purpose, enjoyed by performers and listeners alike." |
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A near capacity audience enjoyed a well constructed and uplifting performance of Handel’s Messiah on Sunday evening in the Garden Rooms at Tennants. The sumptuous setting provided a comfortable venue, particularly on such a cold and wet evening.
The popular conductor Andrew Padmore moulded the choir with care, energetically directing the Amici Ensemble, with David Francis’ Harpsichord continuo throughout the performance enabling the choir and soloists to present this wonderful work to such an appreciative audience.
Performances throughout by soloists Bibi Heal (Soprano), Beth Mackay (Mezzo-Soprano) and Phil Wilcox ( Bass-Baritone) contributed much to the evening. It was a particular delight to hear the fresh clear tone of the young Tenor, James Micklethwaite, a soloist who is sure to be in demand in the future. He sensitively set the scene in the opening Recitative, Comfort ye, Comfort ye my People, with expressive gentle control.
The voice parts were not in sections but dispersed, a challenge for all. There were occasional entry inconsistencies, but the text was projected with clarity and care with detailed phrasing and attention to dynamic contrasts and the resulting rhythmic energy and direction made for a performance with purpose, enjoyed by performers and listeners alike.
As the work progressed, this accomplished Harrogate Choral Society responded to their conductor in building positive ensemble technique and purpose to the chorus The Lord Gave the Word, a rich and full Hallelujah, and the final chorus, Worthy is the Lamb that was Slain.
The enthusiastic and well deserved applause from the audience proved that they had experienced a most moving and enjoyable evening!
Stanley J Roocroft MBE
A Few Audience Comments
“...the most exciting and moving performance of Messiah I’ve ever heard”
“...really impressive”
“transfixed throughout”
“alive and vibrant”
“an excellent performance”
“blend, balance and clarity of diction were excellent”
The popular conductor Andrew Padmore moulded the choir with care, energetically directing the Amici Ensemble, with David Francis’ Harpsichord continuo throughout the performance enabling the choir and soloists to present this wonderful work to such an appreciative audience.
Performances throughout by soloists Bibi Heal (Soprano), Beth Mackay (Mezzo-Soprano) and Phil Wilcox ( Bass-Baritone) contributed much to the evening. It was a particular delight to hear the fresh clear tone of the young Tenor, James Micklethwaite, a soloist who is sure to be in demand in the future. He sensitively set the scene in the opening Recitative, Comfort ye, Comfort ye my People, with expressive gentle control.
The voice parts were not in sections but dispersed, a challenge for all. There were occasional entry inconsistencies, but the text was projected with clarity and care with detailed phrasing and attention to dynamic contrasts and the resulting rhythmic energy and direction made for a performance with purpose, enjoyed by performers and listeners alike.
As the work progressed, this accomplished Harrogate Choral Society responded to their conductor in building positive ensemble technique and purpose to the chorus The Lord Gave the Word, a rich and full Hallelujah, and the final chorus, Worthy is the Lamb that was Slain.
The enthusiastic and well deserved applause from the audience proved that they had experienced a most moving and enjoyable evening!
Stanley J Roocroft MBE
A Few Audience Comments
“...the most exciting and moving performance of Messiah I’ve ever heard”
“...really impressive”
“transfixed throughout”
“alive and vibrant”
“an excellent performance”
“blend, balance and clarity of diction were excellent”
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An Evening of Elgar
9th November 2019 Royal Hall, Harrogate "well chosen, often poignant programme" |
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Harrogate Choral Society with the Amici Ensemble under the baton of Andrew Padmore, with soloists Samantha Hay and Gaynor Keeble, gave us a wonderful evening of music by one of Britain’s most famous and well liked composers, Edward Elgar: a well chosen, often poignant programme of three of his now lesser performed but challenging works.
The Spirit of England was composed at a time when Elgar was greatly affected by suffering caused by the First World War. In this piece he captures the sadness of that time without the music ever becoming oversentimental. Elgar intended originally to have two solo singers for this cantata, by the first performance he suggested one soloist could sing all three settings of Laurence Binyon’s poems and so the practice continued. The choral singing here was clear and of a pure tone with beautifully placed and balanced harmonies across the vocal forces. The hushed tones towards the end of the first section, ‘The Fourth of August’ were particularly lovely. Special mention goes to the tenors who, though fewer in number than the rest of the chorus sections, were particularly good. The orchestra accompanied sympathetically throughout. Soprano, Samantha Hay, was magnificent in her delivery and understanding of the text with a beautiful effortless tone. This is a stunning voice.
Sea Pictures, Elgar’s only orchestral song-cycle, is a work which embraces a myriad of moods from the simple nature of Sea Slumber-Song to the intimate music of In Haven and the noble, heroic strains in The Swimmer. Amongst the songs are lyrics by his wife, Alice. This work requires a soloist with a wide expressive and dynamic tone and range and in Gaynor Keeble we had one of the country’s leading Mezzo-Sopranos delivering this challenging score. Her beautifully paced singing captured the atmosphere and mood of each of the five songs. Miss Keeble depicted wonderfully the almost supernatural imagery of the music in Where Corals Lie, perhaps the most famous of all the songs in the cycle; and sufficiently heroic in the taxing and vigorous final movement, The Swimmer. The Amici Ensemble once again rose to the challenge of accompanying a solo singer and were equal partners in providing a rich backdrop of sound which enhanced the performance yet further.
The Music Makers is the Elgarian equivalent of Bach’s Magnificat. It is not too long but does everything that you expect from Elgar’s pen with its lush harmonic content and beautifully woven melodic lines, many of which are references to previous works including a quote from Nimrod and The Dream of Gerontius which links the moment of Gerontius’s death with the final words of the work ‘and a singer sings no more’. This was Elgar’s last substantial work for choir and orchestra, penned at the twilight of his long life. The opening orchestral strains of the music were beautifully played by the Amici Ensemble. They were superb throughout the evening. The unaccompanied choral opening to the work was stunning with delightfully evocative, well-matched tones, hard to achieve with larger ensembles. The soprano section were particularly in fine voice in the climatic moments of the work. Here also, Gaynor Keeble was able to unleash a fresh palate of vocal tone and colour with some stylish and suitably sensitive singing.
Well done to Andrew Padmore, Music Director of the Harrogate Choral Society, for his sympathetic and sensitive directions to both orchestra and choir. No easy feat given the complexity of the programme in front of him. A thoroughly impressive evening of music making. It was a pity that there were not more people there to witness this.
Paul Dutton
The Spirit of England was composed at a time when Elgar was greatly affected by suffering caused by the First World War. In this piece he captures the sadness of that time without the music ever becoming oversentimental. Elgar intended originally to have two solo singers for this cantata, by the first performance he suggested one soloist could sing all three settings of Laurence Binyon’s poems and so the practice continued. The choral singing here was clear and of a pure tone with beautifully placed and balanced harmonies across the vocal forces. The hushed tones towards the end of the first section, ‘The Fourth of August’ were particularly lovely. Special mention goes to the tenors who, though fewer in number than the rest of the chorus sections, were particularly good. The orchestra accompanied sympathetically throughout. Soprano, Samantha Hay, was magnificent in her delivery and understanding of the text with a beautiful effortless tone. This is a stunning voice.
Sea Pictures, Elgar’s only orchestral song-cycle, is a work which embraces a myriad of moods from the simple nature of Sea Slumber-Song to the intimate music of In Haven and the noble, heroic strains in The Swimmer. Amongst the songs are lyrics by his wife, Alice. This work requires a soloist with a wide expressive and dynamic tone and range and in Gaynor Keeble we had one of the country’s leading Mezzo-Sopranos delivering this challenging score. Her beautifully paced singing captured the atmosphere and mood of each of the five songs. Miss Keeble depicted wonderfully the almost supernatural imagery of the music in Where Corals Lie, perhaps the most famous of all the songs in the cycle; and sufficiently heroic in the taxing and vigorous final movement, The Swimmer. The Amici Ensemble once again rose to the challenge of accompanying a solo singer and were equal partners in providing a rich backdrop of sound which enhanced the performance yet further.
The Music Makers is the Elgarian equivalent of Bach’s Magnificat. It is not too long but does everything that you expect from Elgar’s pen with its lush harmonic content and beautifully woven melodic lines, many of which are references to previous works including a quote from Nimrod and The Dream of Gerontius which links the moment of Gerontius’s death with the final words of the work ‘and a singer sings no more’. This was Elgar’s last substantial work for choir and orchestra, penned at the twilight of his long life. The opening orchestral strains of the music were beautifully played by the Amici Ensemble. They were superb throughout the evening. The unaccompanied choral opening to the work was stunning with delightfully evocative, well-matched tones, hard to achieve with larger ensembles. The soprano section were particularly in fine voice in the climatic moments of the work. Here also, Gaynor Keeble was able to unleash a fresh palate of vocal tone and colour with some stylish and suitably sensitive singing.
Well done to Andrew Padmore, Music Director of the Harrogate Choral Society, for his sympathetic and sensitive directions to both orchestra and choir. No easy feat given the complexity of the programme in front of him. A thoroughly impressive evening of music making. It was a pity that there were not more people there to witness this.
Paul Dutton
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Faure - Requiem
& Rutter - Feel the Spirit 8th June 2019 Ripon Cathedral "Atmosphere of pure joy at choir's cathedral concert" |
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The magnificent interior of Ripon Cathedral was the venue for the final concert of this season given by Harrogate Choral Society under its Conductor and Musical Director, Andrew Padmore with the Amici Ensemble and Thomas Moore at the organ. A large and appreciative audience which almost filled the Nave greeted the performers.
The programme for the evening comprised works by John Rutter and Gabriel Faure and began with three anthems, I Will Sing With The Spirit, Look At The World and For The Beauty Of The World, composed by John Rutter and robustly accompanied at the organ by Thomas Moore, Society Accompanist. This just stayed within acceptable balance between singers and organ, the singers singing with their hearts and voices producing beautiful well-produced and focussed tone. Thomas Moore followed this with a brilliant and spirited performance of Rutter’s Toccata in 7 for organ, demonstrating his excellent command of the instrument.
Following the interval, the second half comprised just one work, Faure’s Requiem Op 48. This popular and intimate piece received a calm and attractive performance, the Amici Ensemble playing beautifully throughout. Isobel Rose, Soprano sang Pie Jesu with warm sincerity and Miles Taylor, Bass sang Hostias and Libera me very well with clear and expressive tone. As an encore the Choral Society sang Faure’s Cantique de Jean Racine.
The third item in the first part of the programme had however been the popular and quite unique setting of spirituals, Feel The Spirit, by Rutter and featured the beautiful voice of Anna Burford, Mezzo-soprano whose warm and inviting voice filled the nave with delicious tone while the Choral Society sang with incredible sensitivity. What a pity the programme and evening didn’t end with Feel the Spirit, then the audience could have gone home clicking their fingers and tapping their toes! The work was accompanied by the Amici Ensemble, the whole producing a wonderful atmosphere of sheer joy.
Adrian Selway
The programme for the evening comprised works by John Rutter and Gabriel Faure and began with three anthems, I Will Sing With The Spirit, Look At The World and For The Beauty Of The World, composed by John Rutter and robustly accompanied at the organ by Thomas Moore, Society Accompanist. This just stayed within acceptable balance between singers and organ, the singers singing with their hearts and voices producing beautiful well-produced and focussed tone. Thomas Moore followed this with a brilliant and spirited performance of Rutter’s Toccata in 7 for organ, demonstrating his excellent command of the instrument.
Following the interval, the second half comprised just one work, Faure’s Requiem Op 48. This popular and intimate piece received a calm and attractive performance, the Amici Ensemble playing beautifully throughout. Isobel Rose, Soprano sang Pie Jesu with warm sincerity and Miles Taylor, Bass sang Hostias and Libera me very well with clear and expressive tone. As an encore the Choral Society sang Faure’s Cantique de Jean Racine.
The third item in the first part of the programme had however been the popular and quite unique setting of spirituals, Feel The Spirit, by Rutter and featured the beautiful voice of Anna Burford, Mezzo-soprano whose warm and inviting voice filled the nave with delicious tone while the Choral Society sang with incredible sensitivity. What a pity the programme and evening didn’t end with Feel the Spirit, then the audience could have gone home clicking their fingers and tapping their toes! The work was accompanied by the Amici Ensemble, the whole producing a wonderful atmosphere of sheer joy.
Adrian Selway
Haydn - Creation
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A near capacity audience gathered in the Royal Hall to hear Harrogate Choral Society’s performance of Joseph Haydn’s ground-breaking oratorio ‘The Creation’. Composed at the end of the eighteenth century, the work depicts the creation of the world as described in the Book of Genesis and is generally considered to be one of the Austrian composer’s masterpieces. For its time, ‘The Creation’ was definitely forward-looking and offers many challenges for any ensemble tackling the piece. On this occasion, the combined forces of soprano, tenor and bass soloists, chorus and orchestra under the skilful direction of Andrew Padmore more than rose to that challenge in a performance characterised by energy, attention to detail and a sense of sheer musical enjoyment.
The trio of soloists (who represent the archangels Raphael, Uriel and Gabriel and, later, Adam and Eve) were well-chosen, their voices perfectly suited to this music. The soprano soloist, Sarah Power, excelled throughout, mesmerising the audience with her impeccable phrasing, lightness of touch and technical prowess in a series of stunning arias and ensembles. Tenor Ben Thapa added a healthy touch of charisma to the role of Uriel, bringing an almost operative flavour to the role that did not seem out of place in a work that could almost be staged. Bass Miles Taylor grew in stature as the work progressed, his role requiring an extremely wide vocal range. There were some beautifully performed ensembles throughout the work with the duets between soprano and bass in Part 3 standing out in particular.
The orchestra play a major role in ‘The Creation’, Haydn using the various instruments to give added emphasis to the setting of this colourful text, including the use of the contra-bassoon at the words ‘heavy beasts’ which is always guaranteed to amuse! In this performance, the Amici Ensemble played with a real sense of style and conviction. Particular mention must be made of some delightful playing by the woodwind principals throughout.
Special praise though has to go to the Harrogate Choral Society who are to be commended wholeheartedly for singing the whole work from memory, no easy feat given the complexity of some of the choral writing. If there was the very occasional moment of slight insecurity, this was more than compensated by the tremendous sense of unanimity and sense of purpose of a choir singing without music copies, responding to their conductor’s every gesture and communicating with an audience who were hanging on to their every syllable!
Overall, this was a splendid performance. The excellent programme note stated that the audience at the first performance in 1798 was spellbound. Over two centuries later, I think many of the Harrogate audience were too!
Kevin Paynes
The trio of soloists (who represent the archangels Raphael, Uriel and Gabriel and, later, Adam and Eve) were well-chosen, their voices perfectly suited to this music. The soprano soloist, Sarah Power, excelled throughout, mesmerising the audience with her impeccable phrasing, lightness of touch and technical prowess in a series of stunning arias and ensembles. Tenor Ben Thapa added a healthy touch of charisma to the role of Uriel, bringing an almost operative flavour to the role that did not seem out of place in a work that could almost be staged. Bass Miles Taylor grew in stature as the work progressed, his role requiring an extremely wide vocal range. There were some beautifully performed ensembles throughout the work with the duets between soprano and bass in Part 3 standing out in particular.
The orchestra play a major role in ‘The Creation’, Haydn using the various instruments to give added emphasis to the setting of this colourful text, including the use of the contra-bassoon at the words ‘heavy beasts’ which is always guaranteed to amuse! In this performance, the Amici Ensemble played with a real sense of style and conviction. Particular mention must be made of some delightful playing by the woodwind principals throughout.
Special praise though has to go to the Harrogate Choral Society who are to be commended wholeheartedly for singing the whole work from memory, no easy feat given the complexity of some of the choral writing. If there was the very occasional moment of slight insecurity, this was more than compensated by the tremendous sense of unanimity and sense of purpose of a choir singing without music copies, responding to their conductor’s every gesture and communicating with an audience who were hanging on to their every syllable!
Overall, this was a splendid performance. The excellent programme note stated that the audience at the first performance in 1798 was spellbound. Over two centuries later, I think many of the Harrogate audience were too!
Kevin Paynes
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The Harrogate Christmas Concert
15 December 2018 Royal Hall, Harrogate Such a fun concert! |
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Every year Harrogate Convention Centre fills with musicians young and old for The Christmas Event in Harrogate. Approximately 300 primary school children join forces with Harrogate Choral Society and Harrogate Symphony Orchestra in this family friendly concert. Every year there are three teams of children and there are so many schools in the district that each school will only perform at once every three years so this is a really special event for them. As usual this year there were special guests – the ladies choir Beati, and of course not forgetting the most important man of all at that time of year who we hope will be there in his red suit!
Handel - Messiah
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For many, the performance of Handel’s Messiah at this time of the year marks the start of the Christmas season. Certainly judging by the size of the audience at the Royal Hall that greeted Harrogate Choral Society at their concert on Saturday night, the work still retains a huge popularity among concert goers and the public at large.
As usual, Andrew Padmore, the Music Director and Conductor showed a thorough preparation of the score attending to much detail and interpretation. The Manchester Camerata were in attendance and began with an excellent rendering of the Overture that opens the work. The dotted feature in the first section was generous and gently handled, the following allegro was brisk and decisive with excellent string playing. In fact the orchestral playing throughout the evening was quite superb and the players were obviously enjoying themselves.
The soloists were well chosen by the Conductor, Jenny Stafford, soprano gave a good account of “How beautiful Are The Feet” and her earlier recitatives. Particularly good was “I Know That My Redeemer Liveth” which was sung with great feeling. Gaynor Keeble, mezzo-soprano sang beautifully throughout. “Behold, A Virgin Shall Conceive” and “O Thou That Tellest” were simply lovely. Cliff Zammit Stevens, tenor, sang with excellent diction, opening the evening with the recitative, “Comfort ye” and the aria, “Every Valley”, settling the audience and giving a quiet confidence to the evening. Alistair Ollerenshaw, baritone, gave an impressive rendition of both “Why Do The Nations” and also The “Trumpet Shall Sound”, accompanied with first-class trumpet playing from the orchestra.
The Choral Society gave a truly excellent performance singing with tremendous energy and vitality. This was a much appreciated performance greeted with great applause at the end and an excellent start to the Christmas Season.
Adrian Selway
A selection of audience messages
“Many congratulations on the performance last evening. The Royal Hall is such a beautifully intimate setting for this oratorio. I loved every minute….”
“It was an absolutely fantastic performance, congratulations. The quality of that concert equalled anything that one might go to in London. In fact a number of seasoned regulars who go to the Messiah every year were saying that it was the best performance yet..”
“...the performance of Messiah was a veritable triumph - and one that will long be remembered. It seemed that each and every member of the choir put heart and soul into an outstanding performance of choral singing - such that, at the end of the first half, a captivated audience was stunned into silence before enthusiastically applauding. The energy and vibrancy of the piece was inspiring - and a tribute to the dedication and hard work of Harrogate Choral Society and its Music Director..”
”…it is encouraging to witness such rapport between conductor and choir, as evidenced in an uplifting and exciting performance of Handel's Messiah. The rousing cheers and exuberant reaction of the audience to conductor and choir said it all..”
“...just to say how wonderful the performance was last night. I used to sing Messiah with a Leeds Choir, but I don’t think we were ever as good as last night. Keep it going!....”
As usual, Andrew Padmore, the Music Director and Conductor showed a thorough preparation of the score attending to much detail and interpretation. The Manchester Camerata were in attendance and began with an excellent rendering of the Overture that opens the work. The dotted feature in the first section was generous and gently handled, the following allegro was brisk and decisive with excellent string playing. In fact the orchestral playing throughout the evening was quite superb and the players were obviously enjoying themselves.
The soloists were well chosen by the Conductor, Jenny Stafford, soprano gave a good account of “How beautiful Are The Feet” and her earlier recitatives. Particularly good was “I Know That My Redeemer Liveth” which was sung with great feeling. Gaynor Keeble, mezzo-soprano sang beautifully throughout. “Behold, A Virgin Shall Conceive” and “O Thou That Tellest” were simply lovely. Cliff Zammit Stevens, tenor, sang with excellent diction, opening the evening with the recitative, “Comfort ye” and the aria, “Every Valley”, settling the audience and giving a quiet confidence to the evening. Alistair Ollerenshaw, baritone, gave an impressive rendition of both “Why Do The Nations” and also The “Trumpet Shall Sound”, accompanied with first-class trumpet playing from the orchestra.
The Choral Society gave a truly excellent performance singing with tremendous energy and vitality. This was a much appreciated performance greeted with great applause at the end and an excellent start to the Christmas Season.
Adrian Selway
A selection of audience messages
“Many congratulations on the performance last evening. The Royal Hall is such a beautifully intimate setting for this oratorio. I loved every minute….”
“It was an absolutely fantastic performance, congratulations. The quality of that concert equalled anything that one might go to in London. In fact a number of seasoned regulars who go to the Messiah every year were saying that it was the best performance yet..”
“...the performance of Messiah was a veritable triumph - and one that will long be remembered. It seemed that each and every member of the choir put heart and soul into an outstanding performance of choral singing - such that, at the end of the first half, a captivated audience was stunned into silence before enthusiastically applauding. The energy and vibrancy of the piece was inspiring - and a tribute to the dedication and hard work of Harrogate Choral Society and its Music Director..”
”…it is encouraging to witness such rapport between conductor and choir, as evidenced in an uplifting and exciting performance of Handel's Messiah. The rousing cheers and exuberant reaction of the audience to conductor and choir said it all..”
“...just to say how wonderful the performance was last night. I used to sing Messiah with a Leeds Choir, but I don’t think we were ever as good as last night. Keep it going!....”
Handel - Messiah
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Harrogate Choral Society last visited St Aidan’s Church, Harehills, Leeds in December 2015 to sing Messiah and Rev. Andi Hofbauer was delighted to welcome them to sing again. The church is worthy of a visit in itself with the famous Brangwyn Mosaics as well as an impressive marble font and a confessional built by the mouseman Robert Thompson of Kilburn amongst the many impressive features.
Messiah opens with an overture which was played by the choir’s very experienced accompanist Thomas Moore, who is organist at Wakefield Cathedral, playing the James Jepson Binns organ, an instrument of noted historic importance.
The vocal performance was begun in great style by tenor Toby Ward’s rendering of “Comfort Ye “ and he continued in the same vein, later adding great pathos to “Thy Rebuke has Broken my Heart”. Bass Edward Seymour has a powerful voice and sang an authoratitive “Thus Saith the Lord”, and later on “The People that Walked in Darkness” and “The Trumpet Shall Sound” his rich voice resonating well throughout the whole church. The trumpeter in "The Trumpet shall sound" was one of the choir's youngest singers Ed Freeman, showing he can both sing and play!
A family bereavement and illness meant that the Soprano and Mezzo soloists were actually last minute substitutes, but Helen Latham, Soprano and Amy Payne, Mezzo acquitted themselves well with some lovely singing.
Of course the main performers were the choir themselves and Music Director Andrew Padmore, who guided them expertly through the many choruses - all of which were performed very well indeed. Having heard performances of Harrogate Choral singing Messiah with an orchestra this was a very different performance, somewhat slower as the organ cannot achieve the tempi of string players but most enjoyable. Of particular note were “Since by Man Came Death” and of course the “Hallelujah” chorus. The weather outside might have been cold, wet and stormy but inside the church the music was heavenly.
Anita Seaman
Messiah opens with an overture which was played by the choir’s very experienced accompanist Thomas Moore, who is organist at Wakefield Cathedral, playing the James Jepson Binns organ, an instrument of noted historic importance.
The vocal performance was begun in great style by tenor Toby Ward’s rendering of “Comfort Ye “ and he continued in the same vein, later adding great pathos to “Thy Rebuke has Broken my Heart”. Bass Edward Seymour has a powerful voice and sang an authoratitive “Thus Saith the Lord”, and later on “The People that Walked in Darkness” and “The Trumpet Shall Sound” his rich voice resonating well throughout the whole church. The trumpeter in "The Trumpet shall sound" was one of the choir's youngest singers Ed Freeman, showing he can both sing and play!
A family bereavement and illness meant that the Soprano and Mezzo soloists were actually last minute substitutes, but Helen Latham, Soprano and Amy Payne, Mezzo acquitted themselves well with some lovely singing.
Of course the main performers were the choir themselves and Music Director Andrew Padmore, who guided them expertly through the many choruses - all of which were performed very well indeed. Having heard performances of Harrogate Choral singing Messiah with an orchestra this was a very different performance, somewhat slower as the organ cannot achieve the tempi of string players but most enjoyable. Of particular note were “Since by Man Came Death” and of course the “Hallelujah” chorus. The weather outside might have been cold, wet and stormy but inside the church the music was heavenly.
Anita Seaman
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I Was Glad
15th November 2018 Royal Hall , Harrogate "Launching the appeal to floodlight the Royal Hall and Cenotaph" |
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You know when you see Dame Fanny Waterman at a concert that some serious music making is about to happen and so it was last Thursday evening at the Royal Hall in Harrogate. On opening the very informative programme notes I realised that we were celebrating more than Parry, but also the Royal Hall’s Restoration Trust. The evening began with Edward Fox OBE talking about Parry’s connection with the Royal Hall and as the founder President of the Royal Hall Restoration Trust and fund raising for the proposed floodlighting of the Royal Hall Façade and the War Memorial in the centre of Town. We also had a note from HRH The Prince of Wales, patron of the Restoration Trust. He has been very much involved in the Royal Hall and officially opened the Royal Hall after its initial restoration in 2008.
Singing tonight we had the Harrogate Choral Society and the Chapel Choir of Exeter College, Oxford. The orchestra was the Amici Ensemble, somewhat similar in its make up to Ripon’s St Cecilia orchestra. Both comprise professionals from larger orchestras and the local freelance community. Under the able direction of Andrew Padmore HCS’s Music Director, they were a delight to hear.
Most of the works tonight were by Sir Hubert Parry and the evening commenced with both choirs singing ‘I was Glad’ now a perennial favourite and played at all royal weddings since Edward VII. We were really celebrating Parry’s connection with the Royal Hall 100 years ago and also the 100 years since the end of World War 1. I’m sure that most people would agree with me when I say that The Harrogate Choral Society is one of the most revered choirs in North Yorkshire and their performance tonight was no exception. We were shortly to discover how good were the tiny choir of Exeter College, Oxford who sang three more of Hubert Parry’s compositions exquisitely, unaccompanied; I was really impressed at their tonal quality, such a small choir under the direction of James Andrew Short, but they filled the Hall with their music.
We then had the Amici Ensemble play ‘Hypatia’ incidental music by Parry in three movements, which was a great. After the interval Edward Fox OBE introduced the second half of the concert with HCS singing ‘Blest Pair of Sirens’ followed by the Amici Ensemble playing Severn Rhapsody by Gerald Finzi who used to be a Harrogate resident, I love his music. Back to ChapelChoir of Exeter College with three more Parry compositions,, again a delight to hear them. The Amici ensemble played a composition ‘Heroic Elegy’ by Farrar who has connections with Parry and Harrogate, he died tragically in September 1918 just before the end of the war, such a waste of talent.
What could we possibly have as a finale on an evening celebrating Hubert Parry but ‘Jerusalem’ sung with great gusto by both choirs and most of the audience. A wonderful evening of memories and beautiful music.
George Pyman
Singing tonight we had the Harrogate Choral Society and the Chapel Choir of Exeter College, Oxford. The orchestra was the Amici Ensemble, somewhat similar in its make up to Ripon’s St Cecilia orchestra. Both comprise professionals from larger orchestras and the local freelance community. Under the able direction of Andrew Padmore HCS’s Music Director, they were a delight to hear.
Most of the works tonight were by Sir Hubert Parry and the evening commenced with both choirs singing ‘I was Glad’ now a perennial favourite and played at all royal weddings since Edward VII. We were really celebrating Parry’s connection with the Royal Hall 100 years ago and also the 100 years since the end of World War 1. I’m sure that most people would agree with me when I say that The Harrogate Choral Society is one of the most revered choirs in North Yorkshire and their performance tonight was no exception. We were shortly to discover how good were the tiny choir of Exeter College, Oxford who sang three more of Hubert Parry’s compositions exquisitely, unaccompanied; I was really impressed at their tonal quality, such a small choir under the direction of James Andrew Short, but they filled the Hall with their music.
We then had the Amici Ensemble play ‘Hypatia’ incidental music by Parry in three movements, which was a great. After the interval Edward Fox OBE introduced the second half of the concert with HCS singing ‘Blest Pair of Sirens’ followed by the Amici Ensemble playing Severn Rhapsody by Gerald Finzi who used to be a Harrogate resident, I love his music. Back to ChapelChoir of Exeter College with three more Parry compositions,, again a delight to hear them. The Amici ensemble played a composition ‘Heroic Elegy’ by Farrar who has connections with Parry and Harrogate, he died tragically in September 1918 just before the end of the war, such a waste of talent.
What could we possibly have as a finale on an evening celebrating Hubert Parry but ‘Jerusalem’ sung with great gusto by both choirs and most of the audience. A wonderful evening of memories and beautiful music.
George Pyman
The Magic of Mozart
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Harrogate Choral Society, together with the Manchester Camarata presented a fine evening of entertainment featuring music entirely by Mozart. This was a rather auspicious occasion as the Guest Conductor for the evening was Brian Kay who was celebrating his 30th Anniversary in his role as President of the Society. The concert supported the charity Disability Action Yorkshire whose aim is to facilitate solutions for disabled people whatever their aspirations might be and included, apart from the choral works two purely orchestral items one of which featured one of Mozart’s Horn Concertos with Ben Goldscheider as soloist on the French Horn.
The concert opened with a performance of the Divertimento in D major K136, a very bright and cheery work scored for strings alone and part of what are known as the Salzburg Symphonies. Brian Kay conducted with delicacy, coaxing gentle and persuasive tone from the Manchester Camarata sometimes, in the echo passages taking the tone just down to a whisper. This was a beautiful and homely performance of this delightful work.
There then followed the Missa Brevis K275, this being a rather less well-known work but very worthy of being included in this evenings programme. Here we were introduced to the fine quartet of soloists – Sarah Power, Soprano, Angharad Lyddon, Mezzo Soprano, Guy Elliott, Tenor and Jake Muffett, Baritone, who also sang the Intonations. The Choral Society sang with great clarity and the direction by Brian Kay was always gentle, encouraging engaging and carefully produced tone from his singers.
Ben Goldscheider, a prize-winning instrumentalist on the French Horn was introduced to the audience by the conductor and continued to give a superb rendering of Mozart’s 4th Horn Concerto K495 accompanied with great sensitivity by the Manchester Camerata. Ben’s playing was full of exquisite phrasing and carefully graded dynamics. Although in this concerto the orchestra also contains Ripieno Horns, Brian Kay kept a gentle but strict control over the orchestra dynamic such that they never intruded upon the solo in any way but blended beautifully with the orchestral tone.
Mozart’s Requiem Mass K626 formed the whole of the second half of the concert. This famous and heartfelt work has been interpreted in many ways and the large and appreciative audience not only had the chance to hear some excellent choral singing with many examples of light and shade, together with clear and precise enunciation of the words and fine tuning but also wonderful singing from the four soloists. Jake Muffett’s Tuba Mirum was full of warm broad tone with a lovely offering from the trombonist in the orchestra who later received a justified recognition from the conductor. The Recordare was especially well sung by the soloists. Angharad Lyddon’s voice was just lovely, a perfect and complimentary essential to Sarah Power’s delightful soprano offering while Guy Elliott completed the soloists with bright and superbly placed tone.
This was an excellent evening of musical entertainment and first class in all respects.
Adrian Selway
The concert opened with a performance of the Divertimento in D major K136, a very bright and cheery work scored for strings alone and part of what are known as the Salzburg Symphonies. Brian Kay conducted with delicacy, coaxing gentle and persuasive tone from the Manchester Camarata sometimes, in the echo passages taking the tone just down to a whisper. This was a beautiful and homely performance of this delightful work.
There then followed the Missa Brevis K275, this being a rather less well-known work but very worthy of being included in this evenings programme. Here we were introduced to the fine quartet of soloists – Sarah Power, Soprano, Angharad Lyddon, Mezzo Soprano, Guy Elliott, Tenor and Jake Muffett, Baritone, who also sang the Intonations. The Choral Society sang with great clarity and the direction by Brian Kay was always gentle, encouraging engaging and carefully produced tone from his singers.
Ben Goldscheider, a prize-winning instrumentalist on the French Horn was introduced to the audience by the conductor and continued to give a superb rendering of Mozart’s 4th Horn Concerto K495 accompanied with great sensitivity by the Manchester Camerata. Ben’s playing was full of exquisite phrasing and carefully graded dynamics. Although in this concerto the orchestra also contains Ripieno Horns, Brian Kay kept a gentle but strict control over the orchestra dynamic such that they never intruded upon the solo in any way but blended beautifully with the orchestral tone.
Mozart’s Requiem Mass K626 formed the whole of the second half of the concert. This famous and heartfelt work has been interpreted in many ways and the large and appreciative audience not only had the chance to hear some excellent choral singing with many examples of light and shade, together with clear and precise enunciation of the words and fine tuning but also wonderful singing from the four soloists. Jake Muffett’s Tuba Mirum was full of warm broad tone with a lovely offering from the trombonist in the orchestra who later received a justified recognition from the conductor. The Recordare was especially well sung by the soloists. Angharad Lyddon’s voice was just lovely, a perfect and complimentary essential to Sarah Power’s delightful soprano offering while Guy Elliott completed the soloists with bright and superbly placed tone.
This was an excellent evening of musical entertainment and first class in all respects.
Adrian Selway
A Nightingale Sang9th June 2018
St Wilfred's Church, Harrogate "A successful concert on an American Theme" |
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The final concert in the 2017-18 season for Harrogate Choral Society proved to be a great success. The venue was the church of St Wilfrid in Harrogate. With its impressive interior and splendid acoustics, St Wilfrid’s was filled to capacity by a very appreciative audience to greet the Society under the direction of its Conductor Andrew Padmore, with accompanist Thomas Moore, Director of Music and Master of the Choristers at Wakefield Cathedral, soloist Aofie O’Connell, Soprano and compere, Marilynne Davies.
In recognition of Leonard Bernstein’s 100 Anniversary of his birth, the concert programme was all-American themed and began with a stirring rendition of America (My Country tis of Thee), the original American National Anthem to the tune of our own National Anthem. This was followed by Charles Ives Variations on America brilliantly played on the organ by Thomas Moore who brought out much of the humour of this composition. The main item in the first half was Bernstein’s Chichester Psalms, the Choir singing very confidently in Hebrew and Thomas Moore playing the tricky accompaniment with consummate ease. The treble solo was beautifully sung by young Charlie Trueman with an excellent quality that flowed like musical mist around and within the nave of the church.
The second half featured the Choir in a rather lighter vein. With excellent performances of Samuel Barber’s Agnus Dei, Whitacre’s Seal Lullaby and O Magnum Mysterium by Lauridsen as well as Lullaby of Birdland. A Nightingale Sang was nicely sung by the group, Beati, but the star of this half was undoubtedly the guest Soprano Aofie O’Connell who delighted us with a selection of songs from musicals including the amazingly virtuosic Glitter and be Gay from Bernstein’s musical, Candide.
Thank you to Andrew Padmore and all for this splendid evening of music.
Adrian Selway
In recognition of Leonard Bernstein’s 100 Anniversary of his birth, the concert programme was all-American themed and began with a stirring rendition of America (My Country tis of Thee), the original American National Anthem to the tune of our own National Anthem. This was followed by Charles Ives Variations on America brilliantly played on the organ by Thomas Moore who brought out much of the humour of this composition. The main item in the first half was Bernstein’s Chichester Psalms, the Choir singing very confidently in Hebrew and Thomas Moore playing the tricky accompaniment with consummate ease. The treble solo was beautifully sung by young Charlie Trueman with an excellent quality that flowed like musical mist around and within the nave of the church.
The second half featured the Choir in a rather lighter vein. With excellent performances of Samuel Barber’s Agnus Dei, Whitacre’s Seal Lullaby and O Magnum Mysterium by Lauridsen as well as Lullaby of Birdland. A Nightingale Sang was nicely sung by the group, Beati, but the star of this half was undoubtedly the guest Soprano Aofie O’Connell who delighted us with a selection of songs from musicals including the amazingly virtuosic Glitter and be Gay from Bernstein’s musical, Candide.
Thank you to Andrew Padmore and all for this splendid evening of music.
Adrian Selway
Mendelssohn Elijah10th March 2018,
The Royal Hall, Harrogate "Choral Society Celebrates 70 Years of Singing"
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Harrogate Choral Society marks a huge milestone this year having presented concerts to the people of Harrogate and the surrounding district for 70 years. During this time, it has performed under many conductors who have contributed the talents of their professional work to furthering the important work of this most noble musical organisation.
To begin the celebrations this year, the Society, under its Conductor, Andrew Padmore together with the Chapel Choir of Harrogate Ladies College with the Amici Ensemble presented a fine performance of Mendelssohn’s great oratorio, Elijah. A superb quartet of soloists graced the stage, Samantha Hay, soprano, filled the Royal Hall with most wonderful and expressive sound, her voice rising through and riding on the canvas of orchestral sound provided by the composer. This was just beautiful. Her rendering of ‘Hear ye, Israel’ for example, was just superb. Gaynor Keeble, mezzo soprano, sang with a voice full of the most delicious richness whatever the dynamic level. Her portrayal of Queen Jezebel was excellent, dark, sinister and vaguely unsettling, perfect for the character. Luke Sinclair, tenor sang with ease and great sincerity in his role as Obadiah, the servant of Ahab. His lyrical tenor voice was ideal for the Hall, floating with gentle but insistent intensity. Alex Ashworth, bass was a splendid choice for the role of Elijah. A demanding sing with much work to do throughout the evening. Alex did an excellent job maintaining the continuity of the story and portrayal of the character. Anna Staveley beautifully sang the part of the youth, looking out to sea awaiting the sign from God.
‘Lift thine eyes’ was beautifully sung by the Chapel Choir from Harrogate Ladies College, Director of Music, Kate Morgan who formed an important addition to the Choral Society for the evening. The Choir were simply splendid, supported by the Amici Ensemble who themselves were on top form with excellent playing in every respect. The Choir, and the all-important Semi-Chorus, sang with verve, passion and endless amounts of energy and they deserve tremendous praise for their efforts. Andrew Padmore, who conducted the evening with great energy and yet great sensitivity is to be thanked for this great evening of music from a composer who is arguably one of the greatest composers in this genre from the 19th Century.
Adrian Selway
To begin the celebrations this year, the Society, under its Conductor, Andrew Padmore together with the Chapel Choir of Harrogate Ladies College with the Amici Ensemble presented a fine performance of Mendelssohn’s great oratorio, Elijah. A superb quartet of soloists graced the stage, Samantha Hay, soprano, filled the Royal Hall with most wonderful and expressive sound, her voice rising through and riding on the canvas of orchestral sound provided by the composer. This was just beautiful. Her rendering of ‘Hear ye, Israel’ for example, was just superb. Gaynor Keeble, mezzo soprano, sang with a voice full of the most delicious richness whatever the dynamic level. Her portrayal of Queen Jezebel was excellent, dark, sinister and vaguely unsettling, perfect for the character. Luke Sinclair, tenor sang with ease and great sincerity in his role as Obadiah, the servant of Ahab. His lyrical tenor voice was ideal for the Hall, floating with gentle but insistent intensity. Alex Ashworth, bass was a splendid choice for the role of Elijah. A demanding sing with much work to do throughout the evening. Alex did an excellent job maintaining the continuity of the story and portrayal of the character. Anna Staveley beautifully sang the part of the youth, looking out to sea awaiting the sign from God.
‘Lift thine eyes’ was beautifully sung by the Chapel Choir from Harrogate Ladies College, Director of Music, Kate Morgan who formed an important addition to the Choral Society for the evening. The Choir were simply splendid, supported by the Amici Ensemble who themselves were on top form with excellent playing in every respect. The Choir, and the all-important Semi-Chorus, sang with verve, passion and endless amounts of energy and they deserve tremendous praise for their efforts. Andrew Padmore, who conducted the evening with great energy and yet great sensitivity is to be thanked for this great evening of music from a composer who is arguably one of the greatest composers in this genre from the 19th Century.
Adrian Selway
Handel Messiah9th November 2017
The Royal Hall, Harrogate "Outstanding Messiah at Royal Hall"
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The performance of Handel’s Messiah by Harrogate Choral Society is, for many people the beginning of Christmas in Harrogate and it must have been very gratifying for the performers, orchestra, singers, soloists and conductor to perform to an almost full Royal Hall. Equally gratifying was the standard of performance the singers and players gave to the audience.
It was quite splendid with four excellent soloists, Bibi Heal, soprano, who sang with great breadth of tone and sensitivity both in the recitatives and her solos. ‘How beautiful are the feet’ and ‘I know that my Redeemer liveth’ were sung with almost heart-stopping beauty and with graceful phrasing and dynamic. Emma Watkinson, Mezzo Soprano, sang ‘But who may abide’, ‘O Thou that tellest’ and ‘He was despised’ with well-shaped and impressive drama, her voice full of well-controlled tone and delivered with musical excellence.
Luke Sinclair, Tenor sang with a warm and rich voice delivering ‘Comfort ye’ with great musical comfort and ‘Every valley’ with wonderful vitality. This was confident singing which became even more convincing after the interval. Stuart Orme, Baritone was impressively persuasive in ‘Thus saith the Lord’ and ‘For behold. Behold, I tell you a mystery’ and ‘The trumpet shall sound’ demonstrated an commanding excellence of his art.
Manchester Camerata which accompanied this performance were superb. Playing with sheer excellence, it showed a unanimity of musical thought which pervaded every part of this work. The phrasing was delicate and the cadences beautifully shaped. Andrew Padmore conducted with amazing energy, driving the choruses along at brisk tempo.
The Choral Society were simply wonderful, dancing along the semiquavers with such ease and yet controlling the quieter passage with great control and feeling. This was an absolutely splendid and impressive Messiah of which the Conductor and performers should be very proud.
Adrian Selway
It was quite splendid with four excellent soloists, Bibi Heal, soprano, who sang with great breadth of tone and sensitivity both in the recitatives and her solos. ‘How beautiful are the feet’ and ‘I know that my Redeemer liveth’ were sung with almost heart-stopping beauty and with graceful phrasing and dynamic. Emma Watkinson, Mezzo Soprano, sang ‘But who may abide’, ‘O Thou that tellest’ and ‘He was despised’ with well-shaped and impressive drama, her voice full of well-controlled tone and delivered with musical excellence.
Luke Sinclair, Tenor sang with a warm and rich voice delivering ‘Comfort ye’ with great musical comfort and ‘Every valley’ with wonderful vitality. This was confident singing which became even more convincing after the interval. Stuart Orme, Baritone was impressively persuasive in ‘Thus saith the Lord’ and ‘For behold. Behold, I tell you a mystery’ and ‘The trumpet shall sound’ demonstrated an commanding excellence of his art.
Manchester Camerata which accompanied this performance were superb. Playing with sheer excellence, it showed a unanimity of musical thought which pervaded every part of this work. The phrasing was delicate and the cadences beautifully shaped. Andrew Padmore conducted with amazing energy, driving the choruses along at brisk tempo.
The Choral Society were simply wonderful, dancing along the semiquavers with such ease and yet controlling the quieter passage with great control and feeling. This was an absolutely splendid and impressive Messiah of which the Conductor and performers should be very proud.
Adrian Selway
A Gala Night of Opera14th October 2017
The Royal Hall, Harrogate "A Fine Evening of Musical Entertainment"
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The Royal Hall, home to Harrogate’s Choral Society was well filled by a very enthusiastic audience for the Society’s autumn concert which took the form of a Gala Night of Opera. The Society under the baton of their Conductor, Andrew Padmore and accompanied by the Amici Orchestra presented a fascinating, varied and very attractive programme of operatic arias and choruses.
The Choral Society and Orchestra began with the Procession and Chorale from Die Meistersinger by Wagner, the Society in excellent voice and the Orchestra in fine form. This was followed by a chance to listen to the ladies of the choir producing very fine tone in the Chorus of the Peasant Girls from Eugene Onegin by Tchaikovsky.
Andrew Padmore’s choice of soloists for the evening couldn’t have been better, Sarah Fox, soprano, brought the delights of her voice in the Recitative and Aria, Dove Sono from Mozart’s Marriage of Figaro and in Dido’s Lament from Dido and Aeneas by Purcell, the latter sung with much beauty and pathos. John Cunningham, bass baritone, brought a rich and resonant voice to the evening, ideally suited to the surroundings. The Toreador Song was splendidly sung with great verve and panache following which John sang the utterly beautiful O pure and tender Star of Eve from Tannhauser by Wagner with great sensitivity and grace.
The two soloists joined in the ever popular La ci darem la mano by Mozart with just a little acting to make it most effective. The Choral Society, together with members of the Halcyon Singers sang very well indeed – really well with excellent tuning and tone in all voices and the accompaniment from the orchestra was always superb. Marilynne Davies compered the evening with great aplomb and relaxed humour. A fine evening of musical entertainment.
Adrian Selway
The Choral Society and Orchestra began with the Procession and Chorale from Die Meistersinger by Wagner, the Society in excellent voice and the Orchestra in fine form. This was followed by a chance to listen to the ladies of the choir producing very fine tone in the Chorus of the Peasant Girls from Eugene Onegin by Tchaikovsky.
Andrew Padmore’s choice of soloists for the evening couldn’t have been better, Sarah Fox, soprano, brought the delights of her voice in the Recitative and Aria, Dove Sono from Mozart’s Marriage of Figaro and in Dido’s Lament from Dido and Aeneas by Purcell, the latter sung with much beauty and pathos. John Cunningham, bass baritone, brought a rich and resonant voice to the evening, ideally suited to the surroundings. The Toreador Song was splendidly sung with great verve and panache following which John sang the utterly beautiful O pure and tender Star of Eve from Tannhauser by Wagner with great sensitivity and grace.
The two soloists joined in the ever popular La ci darem la mano by Mozart with just a little acting to make it most effective. The Choral Society, together with members of the Halcyon Singers sang very well indeed – really well with excellent tuning and tone in all voices and the accompaniment from the orchestra was always superb. Marilynne Davies compered the evening with great aplomb and relaxed humour. A fine evening of musical entertainment.
Adrian Selway