Whilst 200,000 people spent Saturday night down at Worthy Farm watching the likes of Coldplay, many of us had the treat of watching the Bishop’s Stortford Choral Society’s summer concert “Utterly Rutterly” - a celebration of newly-knighted Sir John Rutter and a host of other composers.
The concert was conducted with bags of energy by the choir’s musical director, Richard Brain and opened with Rutter’s stirring Te Deum. The piece showcased the talents of the Choral Society, the Bishop’s Stortford Sinfonia Brass Ensemble and percussionists as well as organist, Richard Carr, and set an uplifting tone for the rest of the evening. The diverse range of pieces that the choir tackled was extremely impressive, including a percussive and challenging French piece by Lili Boulanger which reached a wonderful crescendo. We were also treated to some Latin; the first half of the concert reached a close with the stirring Ecce Sacerdos Magnus by Bruckner. |
Bishop’s Stortford Choral Society combined with the Bishop’s Stortford Sinfonia on Saturday night to tackle the plagues of Egypt as conceived by George Frideric Handel in his brilliant biblical oratorio, Israel in Egypt.
A packed audience at the Methodist Church heard the choir and orchestra recreate the story of Moses and the Exodus, complete with vividly-imagined musical illustrations of the frogs, flies, locusts and hailstones, the crossing of the Red Sea, the waves parted by Moses and the ultimate destruction by drowning of the Pharaoh’s troops. Most of the action is delivered by the choir in a series of choruses, which is a test of any choir’s vocal stamina. But there are also solo moments too and the choir was joined by sopranos Emily Chapman and Eppie Sharp, countertenor Matthew Farrell and tenor Jordan Wilson. |
Beethoven’s 9th symphony, also known as the Choral Symphony, is undoubtedly a cornerstone of the symphonic repertoire but it is most unusual for it to be programmed by an amateur choral society. But that’s reckoning without conductor Richard Brain and the Bishop’s Stortford Choral Society. In a concert on Saturday night at the Memorial Hall in Bishop’s Stortford College we were lucky to hear this amazing piece performed live.
It was written between 1822 and 1824, being first performed in Vienna in May of 1824. Vocal soloists and a choir had never been utilised in a symphony before and they offer a fitting climax to the 4th movement of the piece. Beethoven was profoundly deaf at the time of writing and, indeed, had to be turned around to face the audience to see the standing ovation at the end of that first performance. Bishop’s Stortford Sinfonia tackled this extremely difficult composition with great skill and stamina – some beautiful woodwind solos and great work from the French horn section in the 3rd movement – ripping through the scherzo and delivering a fine peroration at the close. The choir attacked their contribution with great vigour and the famous “Ode to Joy” shone through as a beacon of light. A full house clearly appreciated the performance with loud and extended applause. |
As someone whose knowledge of opera comes mainly from The Simpsons and The Three Tenors, I didn’t know what to expect from Bishop’s Stortford Choral Society’s concert “A Night at the Opera”.
However, from the opening Habanera Chorus from Bizet's Carmen to the Chorus of the Hebrew Slaves, I became immersed in a world of music with which I found myself remarkably familiar – no doubt from the soundtrack of music that you hear all the time in films, TV and advertising. The experience was amplified by hearing the music as written, and performed with great passion and fun by the choir and soloists. The concentration powers of Liz Hill on piano, who played throughout the entire concert, were amazing. |
Johannes Brahms composed his Requiem between 1865 and 1868 and it may well have been inspired by the death of his mother in February of 1865. The work’s full title, "Ein deutsches Requiem" stems from the fact that it is written in the German language rather than following the Latin Mass for the dead. The text, from the Lutheran Bible, does not use Christian dogma but relies more on the Lord as a source of comfort and a sympathetic humanism is at the core of the piece. Brahms did in fact say that he would have happily called it Ein menschliches Requiem – a human Requiem.
It is Brahms’ longest work and contains some of his most beautiful music – at turns, rhapsodic, elegiac and majestically triumphant. BSCS gave heart and soul in the performance – the work is mostly choral and the stamina required is enormous. The choir never flagged and the fullness of tone was exemplary. The German text was delivered with precision and clarity and the choir’s commitment could not be questioned. Conductor Richard Brain marshalled his forces with quiet calm. |
In these straitened times we should be very grateful that we can still attend live performances which can help to re-invigorate our lives. Bishop’s Stortford Choral Society should be extremely proud to have mounted a performance of Ralph Vaughan Williams epic Sea Symphony accompanied by the Bishop’s Stortford Sinfonia last Saturday night in the Methodist Church.
This is one of the cornerstones of the English choral repertoire – not a mass or an oratorio but a symphony which uses the choral elements to compliment the orchestra in the development of the musical plan. Is there a more stirring opening to a symphony than this? I certainly don’t know of one. The shift from the brass fanfare in B flat minor to the opening choral entry “Behold the sea” in a blazing D major is one of the most stunning musical statements ever made. |
To jointly celebrate their 80th anniversaries, Bishop’s Stortford and Barnet choral societies joined forces to present Elgar’s towering masterpiece, The Dream of Gerontius, at Saffron Hall on Saturday night.
It was an immense pleasure to be seated in a hall that was nearly full to capacity and watch a performance by close on 200 people after being unable to do so for so long. Clearly the performers felt the same joy, with a real sense of anticipation waiting for the concert to begin. |
Bishop’s Stortford Choral Society and Bishop’s Stortford Sinfonia held their first live concert in over 18 months with a performance of JS Bach’s exuberant Magnificat in D and Joseph Haydn’s triumphant Nelson Mass at All Saints’ Church, Hockerill, on Saturday December 4.
Singing in public for the first time since the first coronavirus lockdown in March 2020, the choir was in good voice and sang the choruses with verve and commitment. Conductor Richard Brain ensured that everything moved on at a good pace and with real energy. |
On a hot June Saturday evening in the Methodist Church the Bishop’s Stortford Choral Society met the varying demands of Mendelssohn’s Elijah with enthusiasm and panache. Credit must be given to the Music Director, Richard Brain and the BSCS Committee for choosing this oratorio and guiding the 70 strong choir to a powerful and moving performance. The Old Testament theme of prophesied drought and harvest at risk had an immediate relevance for the concert audience as local hosepipe bans were being contemplated.
The role of the choir in the Elijah narrative is not straightforward. The chorus switches from being the “people of Israel” in one section, anguishing over the drought, to alternate believers in God and worshipers of false idols (Baal) in succeeding sections. One moment calling for the death of opponents... and the next singing as a choir of angelic messengers celebrating the glories of those who respect “the covenant of peace”. Perhaps predictably the singing was at its most powerful and the dynamics of the choir most effective when highlighting the need to have “fear of the Lord.” |
Not only did the impressive ensemble give us a joyous musical experience filled with spectacular and moving choruses, but they performed this giant of the choral repertoire in subarctic temperatures that the “Kapellmeister” himself might have recognised in Leipzig.
It was very cold in All Saints Church but the setting was splendid. The audience were all dressed as if they were preparing to spend a night in Holy Trinity Church’s winter night shelter, which was boosted by some £250 on the evening. This was a performance, the quality of which should be a beacon for music lovers in the town and environs. We should be so proud to have such a fine blend of amateur and professional music-making vested in this inspirational ensemble. Bach would never have heard a complete performance of the Mass during his lifetime and it was not until the mid-19th century that his assortment of settings of both Lutheran and Catholic texts would see the light of day. |
Since Robin Hood, composed by Thomas Weelkes, a light-hearted madrigal performed by a vibrant trio, began the concert. Turning next to Vaughan Williams’ Five English Folk Songs, sung a cappella, the bright, melodic voices found me humming to The Dark Eyed Sailor. The Lover’s Ghost transported me high above the clouds in reverie as sopranos soared above this well balanced choir. This song was surreal and particularly beautifully executed. Richard pointed out that Vaughan Williams has influenced future composers.
George Gershwin’s S’Wonderful, catchy lyrics by Ira, his brother, which some of us will remember from the musical Funny Face, was ably played by pianist Kate Macpherson accompanying the choir. During this familiar melody I was swaying side to side with enjoyment; one of my favourite styles of music. Cole Porter’s Begin the Beguine had the same effect. |
Michael Tippett’s Five Spirituals was the star of the evening. These deeply moving songs were captured with absolute conviction, the intonation, emphasis and strength of feeling was conveyed with much emotion. Go Down, Moses has pain and suffering written all over it, sending shivers down my spine. Deep River filled the room with the time and place, a plea of hope, much more effectively than I have heard in a long while – a most humbling experience, this final spiritual bringing me to tears.
Excellently composed, excellently performed, a challenge for a large choir. |
Following the interval we were treated to a madrigal in quartet then, with Richard directing while singing, a quintet along with Helen Strange, Liz Hill, Tom Castle and Adrian Hill. The soloists brought drama, sonorously delivered, with suitable emotion in voice as well as facial expression; very entertaining!
A beautiful performance, deftly interpreted by Kate, of The Lake in the Mountains by RVW (from the film ‘The 49th Parallel’) effectively conjured up the expansive pastoral scenes of Canada. Eleven traditional British songs comprised The Sprig of Thyme, arranged by John Rutter in his familiar style. With piano accompaniment, these gentle songs were sung with expression; famous pieces such as I Know Where I’m Going, Willow Song, Down by the Sally Garden and The Cuckoo, my favourite here. A charming end to a sometimes challenging selection was wonderfully sung with good diction, confidence and conviction. Dedicated BSCS have risen to new heights under the baton of their young Musical Director, Richard Brain. |
Following the cantata's mystical, brooding organ introduction, the bold entry from the choir was impeccably articulated with a refined, blended sonority – a feature worthy of note throughout this concert. This was soon followed by the animated and engaging performance of solo tenor, Richard Robbins. Clearly at home with the idiosyncratic twists and turns of Britten’s melodic writing, Robbins was highly adept at capturing the spirit of Eric Crozier's wonderful libretto to bring the narrative vividly to life for the audience. This attention to detail was mirrored ably by the choir, who brought out the subtleties of the text with good precision of diction and dynamic contrast. This appears to be a real focus of their conductor, Richard Brain, under whose expert direction the choir was able to combine much technical discipline and expressive finesse throughout the performance.
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Dvořák's Mass in D Major was originally commissioned for performance in the new private chapel of Lužany castle, scored for smaller choir and organ. This dignified, late-Romantic work contrasted well with the more frolicsome aspects of the earlier cantata. Even in the modest acoustics of the Methodist Church, the choir was able to evoke the sense of solemnity and grandeur that may have been present in the Lužany performance.
As with the opening of the cantata, the choir once again impressed with a warm, blended tone that gained gently in intensity through the Kyrie, before building to an impressive climatic choral tutti during the Gloria, all deftly supported throughout by Hinitt’s fine accompanying. |
The religious themes of the texts were sensitively judged and the strict musical demands made by the director were admirably met by this most accomplished choir – nowhere more evident than at the start of Ave Maria, a hymn to Mary, which was exquisitely executed, immaculate intonation and carefully tuned harmonies giving a beautiful and ethereal opening to this sequence.
The Five Mystical Songs by Vaughan Williams completed the first half with a most expressive interpretation by the excellent soloist Nick Beever, skilfully accompanied by the orchestra and choir. He gave full expression to the elusive and esoteric nature of the texts with moments of high-drama balanced with moments of extreme tenderness. The choir’s energetic and vibrant performance in the final Antiphon was met with equally enthusiastic applause by the appreciative audience. |
JS Bach's Christmas Oratorio consists of six separate cantatas, each describing a period of the Christmas calendar. For this concert the four sections chosen reveal the events of the first Christmas Day and of Epiphany.
Under their excellent new Musical Director, Richard Brain, the work was performed in German, a bold choice which paid off by preserving the original relationship between the text and the music. Further authenticity was provided by Musica Donum Dei, an orchestra who play on baroque instruments, giving a sound with a quality that Bach would have recognised. The brass and tympani in this Oratorio are always exciting, but there was wonderful solo and ensemble work in all sections. As soloists the Society had engaged Emily Amour, soprano, Helen Stanley, mezzo soprano, Ruairi Bowen, tenor, and Bozidar Smiljanic, bass. They all sang with style and intensity. Remember their names because I'm sure you will hear of them again. |
Mozart RequiemRichard Lewin 20th June 2015
At an early stage of rehearsals for this concert the Society's Musical Director, David Boarder, was taken ill. They were very fortunate that their President, Christopher Bayston, was able to take up the baton, and a wonderful job he did. We were all delighted to see David sufficiently recovered to be singing among the basses.
The first piece, Welcome to all the Pleasures by Purcell was slightly nervous in the first few bars, but from then on the choir was in sparkling form, responding to their conductor's interpretation with sensitivity. The fine continuo playing of Christopher Benham gave strong support to the soloists, all of whom performed their difficult parts with precision and musical skill. We were fortunate to have heard during the evening Elinor Moran and Cathy Noble, sopranos, Olivia Ray, alto, Michael Bell, tenor and Augustus Perkins Ray, bass. Next came Jesu, Priceless Treasure by J S Bach, sung with a quiet intensity which overcame the difficult acoustics of the venue. |
The Requiem Mass by Mozart has been sung by the Choral Society on previous occasions, but they can never have sung it better than they did this time, with nearly all eyes on the conductor and with a fully justified confidence in their own abilities. The Stortford Sinfonia, led by Helen Cass, made a huge contribution to the success of the evening. The reputation of the choir should be more widely known.
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Bishop's Stortford Choral Society makes light work of Haydn's Creation
Nathan Collins 29th February 2012
Last Saturday’s performance of Haydn’s Creation was both mesmerising and arresting. The Stortford Sinfonia, securely led by Helen Cass, accompanied the Bishop’s Stortford Choral Society and soloists under the expert baton of David Boarder.
We enjoyed wonderful choruses from the choir. Light broke forth on the First Day, with a glorious C major chord setting the tone for this deeply religious yet accessible work. The Heavens are Telling went off like a rocket with the angelic choir delivering all the joy shared by God’s unseen Heavenly Host. |
The Lord is Great followed suit and Achieved is the Glorious Work was true to its words: a vivid depiction of a job well done by the Creator.
Soprano Elinor Jane Moran made her mark with soaring top notes on the Second Day painting the picture of God’s creation of the heights of heaven with tenor Andrew Philips calmly narrating Moses’ famous throw away line: “He also made the stars”. Philips connected with the audience at every stage whilst Moran danced effortlessly through sustained melismatic passages. Jamie Hall (Adam) gave us a treat of rich bass tones and expressed an empathy with both the audience and Moran (Eve). The orchestra confidently handled the work with precision and finesse. The woodwind displayed exquisite ensemble and pristine intonation. Brass and timpani handled each passage with well controlled tone and sensitively measured weight. A fine horn section held their pitch without falter. Notably the strings captured delightfully the intimacy between man, woman and the rest of creation. The choir, soloists and orchestra clearly relished every moment of this sublime piece. I was certainly inspired and believe there is space for a few more tenors in the choral society if anyone would like to join me… Source: Herts & Essex Observer, 8/3/2012 |
Two hundred voices singing as oneTwo hundred singers from four local choirs joined voices for a mass rehearsal ahead of their performance of Carl Orff’s cantata Carmina Burana later this month. Bishop’s Stortford Choral Society, Royston Choral Society, Broxbourne Chorus and East Herts Youth Choir came together at the United Reformed Church Hall in Stortford as they prepare to stage the German composer’s greatest work on Saturday, June 16.
They were joined by soprano Lina Saavedra, tenor Stephen Douse, baritone Terence den Dulk plus 70 musicians from the Stortford Sinfonia, conducted by David Boarder. |
Source: Herts & Essex Observer, 7/6/2012
The concert at Wodson Park in Ware will also include performances of Parry’s Blest Pair of Sirens, which was performed at least year’s Royal wedding and two orchestral pieces, Bernstein’s overture Candide and Adams’ Short Ride in a Fast Machine.
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Taking on Rossini with great spirit and strengthPaul Burrell 9th December 2011
The programme of music performed by the Bishop's Stortford Choral Society at Water Lane United Reformed Church was an exciting choice.
The evening got off to an impressive start with O Thou Central Orb for choir and organ by Charles Wood. The choir made an excellent first entry and were extremely strong throughout, achieving good dynamic contrasts. The eight basses and eight tenors more than made up for their lack of numbers by good strength and tone. The choice of Seek Him That Maketh The Seven Stars by Jonathan Dove was ambitious but very worthwhile. A lovely mesmeric introduction on the organ led to some very effective layering of choral parts. The choir performed this music with genuine commitment. It was nice to hear a comtemporary choral piece which neither pandered to banal taste nor baffled the audience. The heart of the programme was the Petite Messe Solonnelle by Rossini. Rossini was one of a number of composers who turned their hand from writing opera to composing large scale liturgical works. There are strong similarities in the drama of both. One would expect liturgical works to be more austere but this is not always the case. Rossini stated that this work was 'the final sin of my old age'. The truth is that the mass is neither 'petite' (small) nor 'solonnelle' (solemn). |
The choir sang the opening Kyrie with great assurance. It was not long, however, before Rossini's comic opera credentials featured in his writing. And there were wonderful moments of sacred lightness.
The Gloria also had a strong opening and this was followed by some lovely contrasts between the choir and the soloists, Elinor Jane Moran, Pamela Clarke, Daniel Joy and Adrian Hill. I particularly enjoyed the performance of Daniel Joy in the Domine Deus. The Choir sang the Cum Sancto Spiritu with great spirit and strength. Given that this performance followed Rossini's original scoring for choir, piano and harmonium, it was especially important that the choral sections achieved the required contrasts. The Credo had greta sensitivity and I was most impressed by the vigour of the fugue Et Iterum Venturus. This was performed with real vigour and clarity. Whilst the choir struggles with the a capella Sanctus, the Agnus Dei had a good sense of purpose building up to an excellent finale. A great deal of credit must go to David Boarder (Musical Director), not only for the choice of programme, but also for directing it with his usual wit and enthusiasm! Source: Herts & Essex Observer, 29/12/2011 |