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An imaginative and varied concert was presented by Wetherby Choral Society in what was, for them, the less familiar surroundings of St Mary's Church, Boston Spa on Saturday 26th June. It was their final event of the season and pitched together the vividly contrasting styles of Schubert, Stanford and Rutter covering a period of about 180 years.
Schubert's 'Mass in G' is the least-complex work of the seven that he wrote in this genre but it was certainly written well enough for the choir to demonstrate a good attack and well-shaped phrases throughout the 20-minute piece. The Gloria was rhythmic and articulate and the Credo solid despite slight tuning problems in the quieter passages. However the spirited fugue of the Hosanna benefited from confident entries and the final Agnus Dei concluded with effective quietly sung reflection.
Despite being under-strength the choir had decided to tackle Stanford's setting of the Magnificat. This was not one of his compositions for evensong but a much more ambitious setting for double SATB choir. The main consequence of there being twice as many voice-parts as usual was the immediate production of a rich sound which was supported by the ever-reliable Marjorie Hodlin at the piano. The climaxes were excitingly produced and, despite the occasional slight insecurities, the challenges of the chromatic sections were risen to - generally successfully - and the whole-hearted performance reached a most emphatic Amen.
The final work in the programme was Rutter's 'Psalmfest', a collection of anthem-style psalm-settings of which eight were performed. The composer's varied melodic and harmonic vocabulary was fully in evidence and the opening thrilling and rhythmically complex 'O be Joyful in the Lord' was well-contrasted with the much more reflective 'The Lord is my Shepherd'.
Andrea Ryder (soprano) and Stephen Newlove (tenor) contributed a beautiful duet in 'How amiable are thy dwellings'. Their melodic lines floated engagingly over the rocking accompaniment although more eye-contact with the audience would have enhanced their performance. Earlier they had sung in the Schubert work and had been joined by John Dunford (also directing the concert) to make a well-balanced trio. Greg Smith accompanied both works on the newly-restored organ which had also been raised into a newly-constructed loft from its original ground-floor position. His playing enhanced both works, him producing a most wide range of tone colours.
The choir sang with excellent diction throughout, complementing its understanding of the darker sections of music with singing of real vitality when appropriate. The printed programme outlined the concerts for the 2010/2011 season and this concert whetted the appetite for what promises to be another series of quality performances from a fine choir.
Paul Dyson
WETHERBY NEWS
It is rather rare to hear in one concert two contrasting choral masterpieces both from the same period in music. It proved to be a successful combination much apprediated by a large audience . . . performed by the Wetherby Choral Society, conductor John Dunford, accompanied by the Harrogate Philharmonic Society . . . Abbi Temple (soprano) Beth Mackay (messo-soprano) Howard Clinkard (tenor) and Andrew Thompson (bass) supported the choir throughout and blended well together.
Haydn's last full-scale work, Harmoniemesse, actually reflects the age of Enlightenment . . . There were nice dynamic contrasts in the Sanctus and the organ continuo was here very effective. After a shaky start in the instrumental introduction . . . the overall performance was well managed , intonation was generally good, and the choir coped well with the syncopated rythms.
In the second half of the concert we heard Mozart's Requiem. At the beginning the sopranos fortunately took control of the tempo in the choruses. . . there were good dynamic contrasts in Confutatis Maledictus, but the most sensitive part of the work, Lacrimosa, could have been much quieter and steadier to begin with.
The choir was more confident singing the requiem, but was not as relaxed with the less familiar Haydn mass. The requiem is a more traditional choral work but paradoxically not as religious as Haydn's mass which in contrast challenges us to restore our own personal faith and belief in life itself.
MALCOLM GALLOWAY, Wetherby News.
As the year marking the 250th anniversary of Handel's death draws to a close and many performances of 'Messiah' start to dominate the concert-diary it was refreshing to hear a different oratorio from same composer's pen on Saturday 21st November in St James' Church, Wetherby. 'Israel in Egypt' is a good choice for an alternative choral work as there is so much writing for the choir itself. Not only that, because the scoring, unusually, divides the group frequently into eight parts, the demanding writing acts as a real challenge.
Wetherby Choral Society were very much equal to these demands and frequently produced a full, rich sound, providing the performance with its dramatic impetus. Most of the entries in the fugal passages were secure, the ensemble was generally tight and the strong sound meant that the climaxes, especially in the 'hailstones chorus', were no less than thrilling. In contrast, the more lyrical passages were sung smoothly and with considerable understanding of their style. Neither the occasional insecurities in the passages with more complex harmony nor the slight snatching at high notes detracted from the overall positive impression that the choir gave. The passion that they showed for the music was particularly well-maintained throughout the eleven consecutive choral sections which conclude the first half of the work. This was also the case after the interval when 'The depths have covered them' received an emotional performance.
A well-chosen team of soloists complemented the choir. Stephen Newlove (tenor) sang with clarity but was also authoritative and Matthew Lennox (counter-tenor) was also clear and annunciated his melismas particularly well. Sarah Kelly sang with a full tone, soaring well over the orchestra, although she tended to dominate in her duet with Kay Yates (soprano) despite the quality blending that they produced. Thom Meredith and John Dunford, in a bass duet, captured the mood of the movement extremely well.
Harrogate Philharmonic Orchestra accompanied sensitively and stylistically, all of the sections making appropriate contributions, but it was the choir, expertly prepared and directed by John Dunford, who had the major part in the work and brought it to its triumphant conclusion.
Paul Dyson WETHERBY NEWS
. . . This concert differed in several respects from past concerts.
It was a celebration of the work of a single composer, Henry Purcell,
the 350th anniversary of whose birth falls this year. There were
five soloist singers, and so there was rather less choral singing
. . . Nevertheless, the choir made a great and joyful impact in
their choruses.
The musicianship of soloists, choir orchestra and conductor was
fully shown to an appreciative audience . . . Conductor John Dunford
again demonstrated his versatility by singing lead parts as well
as conducting.
His explanatory introductions to the pieces were very helpful and
enlightening. Harrogate Philharmonic Orchestra was outstandingly
good, with opportunities for several of their soloists to show us
their undoubted musical abilities.
We enjoyed a very good evening.
DENNIS ASHTON - WETHERBY NEWS
"A most moving performance of Bach's St John Passion was given by Wetherby Choral Society with Harrogate Philharmonic Orchestra and six soloists on Saturday 4th April. As is customary with this Society, St James' Church was virtually full; regulars and visitors were treated to this choir's usual high standard.
This work is high on drama and the choir sang its role with a clear understanding of its place as the familiar story unfolds. This was very much so in its interaction with Pilate, the sopranos being particularly vibrant in their demands to 'Crucify Him!'. The contrapuntal passages were also very well-articulated with each part fully understanding its place in the structure. Much thought had been put into the performance of the chorales and these were meaningfully performed with suitable contrasts.
From the opening bars the orchestra played with clarity and accompanied the choir and soloists sensitively. This was especially true of the continuo players, despite the cellist having some intonation problems in the upper register.
The Evangelist, Robert Johnston, brought much to the varying moods of his 'commentary'. His diction was clear throughout, most of his lines were delivered with real strength and the intensity he brought to 'wept bitterly' and 'gave up the ghost' were almost tangible. Samantha Hay (soprano) sang with a lovely, clear tone and demonstrated some bright top notes while Beth Mackay (mezzo-soprano) gave an expressive performance especially in the poignancy of 'it is finished'.
Conductor John Dunford also doubled as the tenor soloist and brought strength to his part. Simon Deller, as Jesus, sang poignantly but lacked audience contact, and David Hall, as Pilate and Peter, gave solid emphasis to his characters especially in his lower register.
The final chorus was, at times, reflective and - unusually so - delicate and the last chorale was thoughtful in its early passages before making a truly triumphant ending. This concluded a memorable performance of this masterpiece. "
PAUL DYSON The Wetherby News
For the third Saturday in succession residents of, and visitors to, the wider Harrogate area were able to hear a performance of that Advent favourite choral masterpiece - Handel's Messiah. This third such event was given by Wetherby Choral Society on Saturday 20th December and, once again, benefitted a capacity audience.
The choir were in excellent form, the four sections blending together extremely well and producing an outstandingly well-balanced sound. Although some word-endings were occasionally lost, the full and rich tone produced exciting climaxes, especially in 'Amen' and at the homophonic conclusions to several of the choral numbers. In 'Lift up your Heads' the upper voices produced a very strong opening and the full ensemble enjoyed the fast tempi in 'For Unto Us' and 'All we like Sheep'. It was pleasing to hear 'Their Sound is Gone Out' and the overall approach to the work portrayed thorough preparation.
The mezzo-soprano soloist, Beth Mackay, had been heard in Harrogate just 14 days previously and again gave an assured performance. Soprano Sarah-Ann Cromwell, taking part at just two-days' notice due to an indisposition, sang with clarity and true emotion, especially in the ecstasy she portrayed at the words 'now is Christ risen'. Alistair Ollerenshaw brought authority to the baritone role, being particularly emphatic in 'Why do the Nations' and bringing a real sense of 'mystery' to the relevant recitative. Conductor John Dunford doubled up as the tenor soloist and brought a most moving poignancy to 'Thy Rebuke'. In addition his direction of the recitatives ensured that they concluded with very neat cadences, them being much less obtrusive than is usually the case.
Harrogate Philharmonic Orchestra set the standard for the evening with a precise performance of the overture, especially in the double-dotted section, and accompanied throughout with accuracy and sensitivity. John Dunford is to be congratulated, once again, on his fine work with all of the combined forces which gave such pleasure in yet another memorable 'Messiah'.
PAUL DYSON The Wetherby News
For their first concert of the season last Saturday, Wetherby Choral Society treated us - and it really was a treat - to an evening of "The Magic of Mozart". . . Soloists, orchestra and choir clearly enjoyed themselves and indeed excelled themselves.
For their first work, the Society and conductor John Dunford had chosen Mozart's Solemn Vespers K 339 . . . The soloists, The Choral Society and the Harrogate Philharmonic Orchestra did it full justice.
The Dixit Dominus began dramatically and powerfully and the chorus continued the momentum. Soprano Debra Morley, Mezzo-soprano Lucy Appleyard, tenor David Penn and bass Alastair Ollernshaw joined in for the closing Gloria. . . The second movement Confiteor Patri was lighter but flowed beautifully and melodiously, again with the four soloists balancing well with each other and with the chorus. . . . The Beatus Vir moved smoothly and strongly, the chorus backing the soloists very well. The basses of the chorus opened the Laudate Pueri with depth and sonority. The orchestra had the opportunity to feature in the opening of the Laudate Dominum before the soprano solo and the entrance of the chorus. The final Magnificat movement brought in all four soloists again with the chorus, and completed a joyful and elegant work.
For [The Great C Minor Mass K427] soprano Sarah-Ann Cromwell took the place of Lucy Appleyard. The work opened quietly with the Kyrie by the chorus, followed by a soaring solo from Debra Morley. The Gloria, in seven contrasting movements, featured powerful choral hymns of praise, and the sopranos . . . individually, in duet and as a trio with the tenor David Penn.
The chorus did full justice to each of these great movements. The two movements of the Credo which followed were also in contrast. The lively choral first movement was followed by a decorative and exacting soprano solo from Debra Morley.
In the second movement the Harrogate Philharmonic Orchestra were also able to display the virtuosity of their woodwind section. The work closed with the great choral crescendo of the Sanctus, followed by the soloists as a quartet over the chorus in the Benedictus.
The Society, the soloists, the orchestra and the conductor are to be congratulated for bringing us such a superb evening. Special mention must be made of the effortless clarity of Debra Morley's high Bs and Cs. As ever, the light but firm touch of conductor John Dunford enabled all who took part to give of their best.
DENNIS ASHTON, The Wetherby News
An excellent end-of-season performance of Rossini's 'Petite Messe Solennelle' ensured that Wetherby Choral Society concluded its 2007/08 programme in a memorable way. St. James's Church contained a large and appreciative audience on Saturday, 14th June to hear the original version of this unusual work. This meant that the accompaniment used only a piano and, a rare event, a harmonium.
John Dunford, conductor, introduced the work as being 'far from solemn' and the prelude, which precedes the Kyrie, demonstrated this perfectly. Starting with a rhythmic figure in the piano, the harmonium interrupts this regularly with several quirky interjections. In contrast, the choir then enter with smooth melodic lines and perform unaccompanied in the first movement's middle section, during which they remained in tune very well indeed. They gave the Gloria an emphatic start and this was a well-contrasted movement with the four soloists each playing an important ròle. Charne Rochford (tenor) brought an operatic style to the proceedings while both Samantha Hay (soprano) and Karina Lucas (mezzo-soprano) sang with a most pleasing but full and rich tone quality. Their duet (Qui tollis) showed how well the two voices blended and matched each other. The original bass soloist was indisposed so his place was taken by Dunford who managed the two tasks most impressively, singing in a lyrical manner, this contrasting well with Rochford.
The choir began the Cum Sancto Spiritu with a very precise opening and the (only seven) tenors played their part fully in the succeeding lively fugue which brought the first half to a rousing conclusion.
The more dramatic Credo was also well-contrasted, the varied dynamics contributing to the differing moods, especially as the Et Resurrexit built up to its joyfulness from its unusually sombre start. An instrumental duet 'Preludio Religioso' was a pleasant diversion although the less-religious piano part detracted, as the composer intended, from the reflective but flowing nature of the organ's contribution.
The final three movements frequently juxtaposed quartet and choir together in a successful blend of contrasting forces. Unaccompanied passages were occasionally marred by some slightly faulty octave tuning between pairs of soloists but Lucas brought a real sense of pleading to the Agnus Dei especially when the choir joined her in a most passionate mood. The postlude was typical of the composer's eccentric conclusions to some of the movements in this work as it oscilated between major and minor.
Marjorie Hodlin (piano) and Adrian Selway (harmonium and organ) performed outstandingly well throughout showing a very good rapport and understanding of their places in the overall structure. John Dunford directed the whole with his usual sense of musicianship and calm authority, having prepared the choir to its usual high standard. This writer looks forward to their next season of Mozart, Handel, Bach and Purcell.
Paul Dyson, THE WETHERBY NEWS
St James Church, April 12th - a review by Margaret Hunt
It was with a sense of great anticipation that the audience gathered in St James Church for Wetherby Choral Society's latest concert; a performance of Handel's oratorio Judas Maccabaeus. It is a great shame that his most popular work, The Messiah, casts such a shadow over many other great works and it is to the credit of this society that they tackled this marvellous piece enabling a full house to enjoy its many fine choruses and arias. Perhaps the most well known is the chorus 'See the conquering hero', now used as the tune to the Easter hymn 'Thine be the glory'. But there is so much more in this work, and the pace of the performance enabled the story to be told in a clear and dramatic style with a wide range of emotion in the arias.
The Choir were in confident mood. The opening chorus 'Mourn ye afflicted people' immediately set the tone for the evening, and displayed the fine balanced sound of the choir, conveying the lamentation of the Israelites under the jackboot of the Syrians. 'Hear us O Lord' at the end of the first half, showed the choir in dramatic style invoking the power of God in their struggle, with the contrasting sections between dramatic block chordal work and the contrapuntal passages successfully managed, displaying clarity of line throughout.
Andrea Ryder-Smith, soprano, sang with an angelic clarity and beauty of tone that seemed effortless and the demanding 'So shall the lute and harp' displayed her magnificent breath control and instrumental technique in the long coloratura runs. Karina Lucas, mezzo-soprano, has a richness of voice that produced an ideally balanced blend of tone in the duets with the soprano and came to the fore in the wide range of the aria 'So rapid thy course is'. Much relies on the lead of the tenor and Philip Salmon engaged the audience in the struggles of leading the Isrealites. His warmth of tone and conviction gave a humanity to his performance that will remain most strongly. The bass, David Townend's rich and even tone was a delight and from his demand to 'Arm, arm ye brave' to 'Rejoice, O Judah' at the victory and subsequent peace was authoritative throughout.
To this fine quartet of soloists the Harrogate Philharmonic Orchestra were on as good form as we have heard. The string section in particular was secure, balanced and responsive to the direction of the conductor. Margaret Bryan was an excellent continuo cellist, and Rebecca Todd's fine obbligato trumpet in the rather unusual aria 'With honour let desert be crowned' was superbly played.
In an evening of many highlights the contribution of the conductor, John Dunford, (in whom the spirit of Dr Roger Bullivant clearly lives on) should not go unmentioned. Like Dr Bullivant, under his clear direction the performance had pace and drama. Directing from the harpsichord, as Handel might well have done, his continuo playing added much to the performance. But to everyone's surprise he sang the prayerful Priest's aria 'Father of Heaven' while still conducting the orchestra. Wetherby audiences may be used to hearing occasional solos from their conductor as a tenor or bass, but in this countertenor number he was able to display the flexibility of his voice and clarity of tone.
One of the joys of the evening was the enthusiasm of the choir and their commitment to the performance. The colour of sound produced in the reflective 'Ah! wretched Israel', the sheer exuberance and volume in the final verse of 'See the conquering hero, and the joyous and energetic 'Hallelujah' at the end of the work, combined with the excellent diction and good intonation of the singers to make this a memorable performance which must rank as one of the best concerts this very fine choir has sung.
Margaret Hunt
John Henry Maunder studied at the Royal Academy of Music in London and served as organist
in several London churches, including St Matthew's, Syndenham and St Paul's, Forest Hill.
Maunder started his career as a theatre composer during which time he wrote the operetta
'Daisy Dingle'. He later devoted himself exclusively to sacred music. While his oratorio
'The Martyrs' became a perennial favourite it is 'Olivet to Calvary' which has retained
its popularity and appeal through the generations.
The work is a fine example of music written for the late Victorian/early Edwardian Anglican church.
Considered by some to be over sentimental by modern tastes, it contains a sincerity and dedication
which, despite being a definite product of its time, has carried the piece through to the modern
era. Its popularity is in part due to its simplicity, needing only organ, choir, bass and tenor
soloists, it is a work which can be performed by the smallest choirs.
Described as a sacred cantata, 'Olivet to Calvary' recalls the scenes which mark the last
few days of Christ's life on earth.Part 1 starts with Christ's jubilant journey to Jerusalem
and ends with the scene on the Mount of Olives. Part 2 begins with the Feast of Passover with
Christ's commandment to his disciples to 'Love one Another' and end with the Crucifixion at
Calvary. It is interspersed with congregational hymns which reflect on the scenes .
While a slight and somewhat outdated work 'Olivet to Calvary', like Stainer's more substantial
'Crucifixion', rewards sincere performance.
PHILLIP TOLLEY
British Choirs on the Net
In the 1955 edition of the Oxford Companion to Music Percy Scholes writes that Maunder's
"seemingly inexhaustible cantatas, Penitence, Pardon and Peace and Olivet to Calvary long
enjoyed popularity, and still aid the devotions of undemanding congregations in less
sophisticated areas".
'Great Christmas Music of the Baroque' proclaimed the title of the programme notes and both
the music and the performance of it in St. James's Chuch, Wetherby on Saturday 15th December
lived up to it. The first half of the programme consisted of most of Part 1 of Handel's 'Messiah'
and ended with some items from Part 3. The second half consisted of the first and last cantatas
from Bach's 'Christmas Oratorio' - the ones composed to be
performed on December 25th and January 6th.
Wetherby Choral Society were in fine form making a full and rich sound throughout. The balance
between the four voice-parts was always excellent and, excepting for some very slight hesitant
fugue-chorus openings, they sang with considerable awareness of the music's differing styles.
For unto us a Child is Born' was extremely well-contrasted and the chorales were sung in a most
expressive manner. The fortissimo sections were performed with a very strong sound, especially
in 'And He Shall Purify' and the final chorale.
The four soloists made a very good team. Only once did the music allow them to sing together but
the final recitative showed how well they blended together. Soprano Andrea Ryder-Smith sang with
a bright tone and performed the unusual compound-time version of 'Rejoice Greatly' with excellent
breath control. David Keating-Roberts (counter tenor) sang with a real understanding of, and feeling
for, the music and his melisma-cadenzas added much to his interpretation. Steven Newlove (tenor)
demonstrated a very pleasing sense of phrase-shaping and ornamentation, singing Bach's longer
recitatives particularly clearly while David Townend (bass) sang in a most articulate manner
and with a wide range of expression.
Orchestra d'amici supported the singers (soloists as well as choir) very well indeed and the
balance was almost perfect throughout. There was some very slight disagreement over the
double-dotting in the first section of the Overture but at appropriate times certain individuals
shone, especially the trumpeter, bassoonist and continuo players.
The concert was conducted by John Dunford with a great sense of the music's direction and clarity.
Although his chosen tempi were appropriately fast in the Handel, some in the Bach were slightly on
the slow side. Nevertheless, he made sure that the works flowed and the gaps between the movements
were kept to an absolute minimum. A very rousing event with favoured music for a favoured season.
Paul Dyson, WETHERBY NEWS
An unusual combination of two major sacred works made for a most successful concert given
by Wetherby Choral Society in St James' Parish Chuch on Saturday 17th November. Also unusual
was the order of the concert in that the older music was performed after the more modern piece.
Duruflé's Requiem is a reflective work and this quality was very much to the fore in this performance.
The Harrogate Philharmonic Orchestra, in particular, captured this mood immediately in the
work's opening passage. The choir started a little too loudly and also took some time to
warm up, having a tendency to sing 'under the note' in the first movement. The two sections
following were sung with a strong sense of energy and were well-articulated the Sanctus
reaching a particularly effective climax. Later the choir's tuning had improved so much that
the sixth movement's light-textured accompaniment held no fears whatsoever.
Mezzo-soprano soloist Melissa Lunn's performance of the Pie Jesu saw her sing in in a very
expressive manner, demonstrated a clear upper register and was accompanied very sensitively
by a solo cello. Similarly Terence Ayebare (baritone) sang the seventh movement with an impressively
expressive range of tone quailities. Organist Adrian Selway added to the overall texture appropriately
throughout the work, coaxing recognisably 'French' sounds from the Church's instrument. The work's
quiet conclusion was approached thoughtfully and achieved in a most meaningful manner.
Haydn's Maria Theresa Mass made an effective contrast and the more settled diatonicism and rhythmic
energy made a good antidote to the concert's first half. The choir, who were consistently strong
in all four part-sections, were alert to their rôle in the differing styles, and the tempo changes,
particularly that for the fugal finale to the Credo, showed considerable attention and precision.
The two previously-mentioned soloists were joined by soprano Claire Stafford and David Penn (tenor)
and the quartet made an effective ensemble blending well together especially in the Gloria.
The intonation of the orchestra's string section was not compromise by the chromaticisms in the
Sanctus. The trumpets, having played too loudly in the Et incarnatus, and kettledrums made a telling
contributed to the work's climax in the final movement, the choir having begun this with a dramatic
response to the difficult high opening.
John Dunford conducted the whole concert with a real awareness of the music's sense and purpose;
his direction of the choir clearly shows what can be achieved with such an experienced and committed
ensemble.
Paul Dyson, WETHERBY NEWS
Although they could have sung more pianissimo at times, they . . . sang with a real understanding
of phrase-shape and with very good diction - the togetherness of word-endings being a particularly
qualitative feature.
The choir's programme contained a mixture of the well-known (such as Bach's Jesu Joy and
Vaughan-Williams's Linden Lee) as well as a more obscure repetoire . . . with considerable
precision in the many syncopations.
The choir were joined by young soprano Debra Morley . . . not only to display her wide and
expressive vocal range but also some effective characterisation . . .
John Dunford directed with a real understanding of all the varied musical styles on show and
the society's accompanist, Marjorie Hodlin, who also played for Morley, performed with an effective
understanding of her role as well as in a manner that displayed a high degree of musicianship.
Paul Dyson, WETHERBY NEWS
NOTES ON 'OLIVET TO CALVARY' SUNG ON GOOD FRIDAY, 2008, IN BOSTON SPA METHODIST CHURCH.
Olivet to Calvary - John Henry Maunder (1858 - 1920)
Bach and Handel, 15th December 2007
Duruflé - Requiem; Haydn - Maria Theresa Mass, Saturday 17 November 2007
Gala Concert, 16 June 2007
A mixture of musical styles . . . and a choir in top form . . . a range of short pieces . . .
very much at home in all of the stylistic demands made on them.
. . . singing the final chorus of When the Saints and brought the evening to a rousing conclusion.
Puccini was still a teenager when he started writing his Messa di Gloria, so it was entirely fitting that the students from Ashville College should perform this exhilarating work in their concert in Leeds Town Hall on Sunday. They teamed up with Wetherby Choral Society, and the combined forces of over 250 voices created a wonderful texture of sound. They were accompanied by the Society's festival orchestra of local professionals and gifted amateurs. John Dunford marshalled these forces to great effect, achieving excellent balance and contrast, with clear control of tempi.
Nowhere was this more apparent than in the Gloria, where the clarity of the high soprano line shone through, and where the contrasts of syncopation and tonal volume were accurately mastered. Puccini's tutors had recommended him to concentrate on opera when they heard this Mass; so Campbell Russell from Opera North, with his rich operatic tenor voice, was a perfect choice for this work! Anthony Cunningham seemed less at ease with the bass solo line, though his 'Crucifixus' was arresting.
Another teenager, Ashville's Victoria Sheehen-Dare was the soloist in Mozart's Clarinet Concerto. What a gifted performer and what an example to all aspiring musicians at the College! Throughout the work she brought a precision of tone, phrasing and articulation that was a rare joy, with soaring arpeggios and fluent running passages. I particularly enjoyed her tonal quality in the quieter sections and her sustained line in the Adagio. Throughout she maintained great composure and presence in such an awe-inspiring atmosphere - a rare talent to watch for in the future.
John Rutter's cycle of spirituals 'Feel the Spirit' provided the opportunity for the College's junior and chamber choirs to shine, alongside the main choirs. Despite its familiar tunes, this work offers some real challenges in terms of chromatics and rhythms, challenges that the combined forces rose to magnificently. The mezzo-soprano soloist, Karina Lucas, clearly relished the role, particularly with the opportunities to show off her lower register to great effect. The augmented orchestra also excelled, from the jazz ensembles in the brass to the haunting harp and cor anglais solos. Throughout, there was great vitality and excitement and this was brought to a fitting climax with the most exuberant 'When the Saints go marching in', in which all 400 performers let everything rip. It was only fitting that John Dunford should encourage the large and appreciative audience to join in in the well-deserved encore.
All in all, this was a first class concert. Whilst twelve-year-olds have the opportunity to sing such varied music alongside older and more experienced musicians, in such an imposing venue, then Britain's unique choral tradition will continue to thrive.
Mike Deeming, THE WETHERBY NEWS
"MUSIC TO MOVE HEART AND SOUL
It is hard to imagine a more moving concert than that presented on Remembrance Day by Wetherby Choral
Society and Harrogate Philharmonic Orchestra. . . both [works] were most appropriate for the date and
complimented each other in mood and style . . .
John Dunford directed the whole concert with a committed and deep understanding of the nature of both
works . . .
The more discordant sections jarred with a real intent, and discordant 'thuds' from the outstanding
percussion section led to a real sense of discomfort . . .
The choir sang throughout with precise and accurate diction, and much attention to detail, producing
some lovely warm tone quality in the a capella sections. The men are to be complimented on their tight
unison singing and although the sopranos struggled slightly with some of their top notes, the
notoriously difficult 'battle' section, with its random notation, was full of drama and chaos before
the long and thought-provoking silence that preceded the trumpeter Simon Crick's poignant Last Post."
Paul Dyson, THE WETHERBY NEWS 17 November 2006
"Vivid images brought
to life by fine vocal talents."
"The Wetherby Choral Society gave a stirring performance of Haydn's eternal masterpiece,
The Creation . . . last Saturday.
. . . The Choral Society was in fine voice with secure entries,
controlled crescendos and thrilling fortes. Excellent four part balance
was achieved, a tribute particularly to the tenors but all parts made
a distinctive contribution. Particularly enjoyable were Achieved is the
glorious work ending Part Two and the soaring climax of Sing the Lord.
Conductor John Dunford marshalled and controlled his forces with authority
and sensitivity and credit is due to him for giving the enthusiastic audience
a memorable rendition of this enduring score."
Graeme Scott, WETHERBY NEWS, 23 JUNE 2006
"Puccini's gorgeous Messa di Gloria needs some good lusty voices who can cast aside inhibitions,
open their chests and sing straight from the heart, all attributes that were in plentiful supply
from the Wetherby singers.
Of course I have heard more technical, perfect performances from big time city choirs, but this
one I found an absolute delight, the choir's enjoyment of the music so potent it would have been
a stony heart that could have remained unmoved.
. . . The pure and incisive solo soprano voice of Nicola Mills, joined in a beautiful duet by
Hilary Rowland, with the inspirational guiding hand of their conductor, John Dunford"
David Denton, YORKSHIRE POST
"The audience heard and enjoyed Puccini's Messa di Gloria
and Mendelssohn's symphonic Hymn of Praise, both major
and challenging works. . . Our familiarity with Puccini's
charactereistic style . . . led us to expect
melodoc creativeness and colourful orchestration
in this work and these were present in full measure.
The choir was strong and confident when neccessary, but
movingly lyrical in other passages. The "Gloria" in particular was exhilarating, and the crescendo
"Amen" very powerful.
Mendelssohn's "Hymn of Praise" . . . gripped throughout.
First soprano Nicola Mills had superb diction and clarity
of tone, with a powerful voice under perfect control. . .
Hilary Rowland [Chairman of the society] stepped
down from the choir to join her for the delightful
and all-too-short duet "I waited for the Lord".
They sang together beautifully. It was as if they
had sung together for years. . . Again, the choir
met the challenge of the piece very well.
Conductor John Dunford is much to be congratulated
for bringing these demanding works to Wetherby and
presenting us with such a memorable evening."
Dennis Ashton - WETHERBY NEWS
"We were not disappointed with the Wetherby Choral Society's performance of Messiah! The Church was full, the audience expectant, and the soloists, choir, orchestra and conductor very much on form.
Conductor and musical director John Dunford again showed the range of his talents. . . . It was impressive to see him playing harpsicord continuo accompaniment with one hand and conducting the orchestra with the other, then coming to the rostrum to conduct the full choir!"
Dennis Ashton - WETHERBY NEWS
"The different sections of the choir were in fine voice, tuneful and well blended, quietly
supported by the orchestra. It was a delight to listen to the intertwining of the male and female
voices gradually reaching a crescendo. . . . Loud and sustained applause indicated the pleasure
that the concert had given to the audience. The choir were amply rewarded for the appreciation
of their hard working preparation. John Dunford is once again to be congratulated for his excellent
choice of soloists and orchestra and for his superb direction."
Tommy Jacob, WETHERBY NEWS