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WDCS - 'The Sprig of
Thyme'
From our
Musical Director, Edd Caine...
Dear WDCSers!
Thank you so
much to everyone that took part in the concert on Saturday. It
was an enormous pleasure to conduct and despite being fewer in
numbers I felt it was one of our most secure concerts to date.
Thank you especially
for sticking with me and learning the John Bevan Baker and Andrew
Downes pieces. When I planned this concert I had three main goals
- Goal 1). Accompaniment - make as little of it unaccompanied
as possible. Goal 2). Learn larger pieces or sets of pieces so
that the concert wasn't 'bitty' and we had something larger to
sell. Goal 3). Keep the costs relatively low, so that we have
more chance of performing bigger concerts in the other terms.
These goals immediately made me think of 'Songs of Courtship'
written by my old piano teacher, and some digging brought up
John Rutter's Sprig of Thyme, which I thought would be a perfect
accompaniment. Andrew Downes passing away in January gave me
the last piece of the concert, and it was a perfect opportunity
to join with other groups in honouring his work. (Tony Bridgewater's
duet Midland Dances was a cheeky bonus!)
I realise that
throughout the process the Bevan Baker has been divisive amongst
you but I really feel that for those that persisted with it,
this challenge has been a very positive one, and I can't believe
myself to be the only one that thoroughly enjoyed the concert,
especially Songs of Courtship. Despite the odd slip here and
there it was a fantastic rendering of quite a challenging work.
One of the real
highlights to me will sound a little cruel, but turning around
in rehearsal to see Cynthia, Andrew Downes's widow, in floods
of tears at the sound of your rendition of his works will stay
with me. Her and Paula told me later that it was like he was
there in the room. It fills me with pride that we can honour
another composer this way, and with such quality. Thank you to
everyone for making Paula, Cynthia and our booster Claire all
feel so welcome - if there's one thing that our visiting musicians
and singers feed back to me is how friendly and welcoming the
choir are and it's a source of happiness to me.
Despite my ambiguous
relationship with Rutter's works, I found myself halfway through
Sprig of Thyme wishing that it didn't have to come to an end.
By then everyone was so comfortable and singing so beautifully.
I felt the atmosphere was cosy and beautiful and I enjoyed it
thoroughly.
Thank you as
ever to the committee - Richard D, Eileen, Richard F, Denis,
Neil, Stella, Candy, Stephanie and Carole as well as to the continuing
and immense support of Henry, Mike H and Mike C. Your work makes
my job so much easier and I couldn't do it without you.
Thank you to
Paula and Mike H, our fantastic soloists, and to Jonathan Clarke,
who I'm sure you will agree has embedded well as our 'live in'
accompanist and assistant MD!
I'm really looking
forward to seeing you all back again next term when we shall
be performing traditional Christmas Carols, new Christmas works
and Vaughan Williams 'Fantasia on Christmas Carols' in not less
than two concerts!
Happy Holidays!
Edd x
July 2023
|
|
WDCS - Mozart Requiem
& Vesperae solennes de Confessore
From our
Musical Director, Edd Caine...
Oh Choir my Choir !
I hope you agree
Saturday's concert was in my opinion one of the best yet. Despite
my misgivings about balance during the afternoon, you (the choir)
really pulled the stops out in the evening concert and so many
people including myself and the soloists remarked at what a professional
and big sound you made. Despite the vespers being challenging
you made an excellent sound and the first half was very exciting.
I have very little to mention in my email because it was that
good! Well done for coping with the challenging vespers - I even
saw some of you looking up every now and then! And the Requiem
despite one errant bass entry was a real pleasure to conduct
- a dream come true!
I hope you agree
the soloists and orchestra were also excellent. I have the orchestral
leader and fixer Sally Minchin to thank for fixing such brilliant
players - it made my job very easy, and I'm so glad to be able
to support the young singers Harry (bass), Ellie (mezzo) and
Ciara (soprano) who are still studying at Birmingham - I hope
you agree they were worth the support and this kind of opportunity
will help launch their career which judging by the talent on
show should be a long and successful one. It was also great to
have Ed who is steadily making his name in the area as a 'go
to' tenor and whom I've had the pleasure of working with on numerous
occasions now.
Thank you so
much to the members of the committee that worked really hard
to make this happen. My role is arguably crucial but it wouldn't
exist without their support - Thank you to Candy for her diligent
work as librarian, and to Stella who stepped up her role as Orchestral/Soloist
liaison and worked hard to make sure our musicians were well
greeted and looked after. Thank you to Mike Hayward (whom we
missed in the basses!) and Neil Stockhall for your great work
on the staging, which made the event run very smoothly and look
great. Thank you to Mike Coope whose brilliant work on publicity
we could not do without and to Richard Finlinson, stepping into
his role as Financial Officer with passion and dedication, as
well as providing great support to the tenors and basses on the
day.
Last but far
from least thank you to Eileen for keeping everyone in check
(especially for reminding me about the Offertorium), to Denis
for his invaluable support, to our outgoing chair Henry for is
continued advice and support and of course our new chair Richard
Devney, who has been working extremely hard behind the scenes
to keep the ship running smoothly.
It just remains
for me to say enjoy a well earned rest and I'll see you next
term for some John Rutter folk arrangements (A Sprig of Thyme),
and a set of lovely pieces called 'Songs of Courtship' by my
old piano teacher - Scottish composer John Bevan Baker.
Happy Easter
!
March
2023
|
|
WDCS - A French Christmas
From our
Musical Director, Edd Caine...
Cher Chanteurs et Chanteuses!
Well, I promised you an adventure, and an adventure you got!
I hope you enjoyed our French Christmas concert and especially
our wonderful Baroque instrumentalists.
I had to pause during the concert to think about how easy and
slow French culture can be. The music of a country that endorses
a two hour lunch break is slow, sonorous and exquisite. Sure
- we repeat the same music three times verbatim at the end of
the mass, but each time it is ravishingly beautiful and somewhat
understated.
Safe to say, that Agnus Dei has been going round my head for
the entire day today. For me, this concert was an enormously
special occasion. When I had the opportunity to reach out and
almost touch those beautiful Caurroy Fantasies all thoughts of
my mis-remembered programme order went out of my head. Indeed
I spent most of the day wrapped in the beautiful french sonorities
we were performing - forgetting to eat, trailing off in conversation,
hardly able to think of anything else!
Thank you for being so patient and so solid during the concert
day - I spent so much time worrying about the ensemble and soloists
that I hardly remembered to acknowledge the fact that despite
being a few members down, the choir was rock solid during the
rehearsal. It was a huge comfort to me that while I worked through
the complicated parts with instrumentalists that are much more
experienced at playing baroque music than me, you did me a huge
favour by appearing so well rehearsed and singing so confidently
and beautifully! I was so proud to showcase your hard work to
such incredible musicians. I really think that in this type of
music, we are a force to be reckoned with.
I often think that it is a shame that we don’t get to perform
these concerts more than once, and refine them to get them right.
So often people will come up to me afterwards and say “we
buggered up here and there” - of course you did! So too
did the seasoned professional musicians in front of me, and so
did I by forgetting a whole section of my meticulously planned
concert! (Sorry, and well done for coping!). It’s only through
repetition that we get to iron out these mistakes - a luxury
we are not afforded. So I prefer not to dwell - in my opinion
your performance in this concert was the best yet, of the concerts
that I have conducted, and along with the Faure and Durufle concert
it will be filed very close to my heart as a very special experience.
I hope like me you enjoyed exploring the French Baroque and the
sonorities of the baroque orchestra. With any luck we’ll
be able to explore some more!
Thank you hugely to our readers, Sheila, Mike H, Candy and Denis.
Thank you also to Henry for arranging the reading, and for his
huge support this term as usual, arduous as the task must be
becoming towards the end of his reign as chair. Thank you to
Mike and Neil for their excellent work as stage managers, and
to Candy for saving me on occasions too numerous to count in
her role as librarian. Thank you to Mike for his excellent and
patient work on the programme, fabulous publicity and advertising
materials and to Sheila for her sterling work on the box office.
Thank you and best wishes to Eileen - a huge shame that she fell
ill on the concert day. You might not know but in my interview
for Musical Director, I floated the idea of doing the Charpentier,
and it was her delighted reaction that convinced me to forge
ahead with this crazy concert. To Eileen and the others that
had to drop out - so sorry you had to miss it, and get well soon.
Thank you to Jon Clarke, who I believe we are to be bringing
on board as our official accompanist and deputy MD. Thank you
also to Sally Minchin, our instrumental fixer - when I tentatively
put in my request for a Theorbo, I had no idea that I would get
Lynda Sayce, one of the reputed best in the country!
What else is there to say? Thank you all for taking this challenge
on and congratulations on an excellent performance. See you again
next term for more familiar territory - Mozart’s great Requiem
in D Minor, along with his Vesperae de Sollenes de Confessore.
Wishing you all a Joyeux Noël, and see you in the new year!
December
2022
|
WDCS
- A Summer Solstice
From our
Musical Director, Edd Caine...
What a fantastic night last night. I hope you all enjoyed it
as much as I did. I felt it was a cathartic release after a difficult
and busy term for everybody. We had so many illnesses and holidays
to contend with, and I would be the first to admit that I aimed
quite high with the repertoire chosen. Another thing to remember
(both for myself and for you) is that only two terms ago we came
out of lockdown and started rehearsing and performing again.
Nevertheless we pulled it off, and with some brilliant performances.
I’m very glad that my “Summer Solstice” theme
seemed to work well and I’m keen to revisit the structure
at another time, but with some easier repertoire, given the shortness
of the term.
My highlights from this concert - I hope especially that you
enjoyed getting to know Bainton’s “And I saw a new
heaven” - one of my favourite anthems - it’s trickier
than it looks, but tonight’s performance was the best you’ve
sung it easily, and it was a joy to conduct.
Extremely well done with the Moeran - a set of pieces I’ve
wanted to revisit since I started conducting, and was introduced
to them by the conductor I ended up replacing.
John Oxley’s performance of Silent Noon - one of my all
time favourite songs - was so beautiful. His daughter came up
to me after the concert and told me how much she enjoyed the
concert and especially the Faure.
Everyone commented on how much the enjoyed Zadok! Very much our
wheel-house and well performed!
Sumer is icumen in worked! Hooray! Well done to everyone for
remembering your part and my apologies that my errant technology
slightly ruined the effect at the end.
Il este bel est bon - wonderful! Well done for not falling to
pieces or rushing - a great performance!
I’ve especially enjoyed getting to know Boulanger’s
“Hymn to the Sun”. As stated previously, it’s
important to me to program female composers. I realise I haven’t
done enough in that regard (we had enough new material to learn
as it is), however I thought this piece came across powerfully
and we overcame its technical difficulties admirably.
I hope you all enjoyed Callum’s performance of the “Raindrop”
prelude - I’m so glad to be working with such a talented
accompanist, and he ushered in the evening with a fearlessly
exposed performance!
Eileen’s performance of “Sleep” by Ivor Gurney
was absolutely wonderful. Listening to both her and John I felt
very privileged to be working with such good singers, and special
credit given for matching the hall’s 9 foot grand piano.
The Faure was solid, as was the Long Day Closes. Well done to
the sopranos for keeping up the line despite being a few down.
Extremely well done to the readers as well - I especially enjoyed
The Passionate Shepherd and The Nymph’s Reply to the Shepherd,
the Anointment of Solomon King (Well done on the pronunciation
Dennis!) and of course my favourite bedtime book Goodnight Moon.
Many thanks to everyone that made it happen - especially Mike
Hayward for his stage managing - a crucial role in yesterday’s
concert. Thank you also to Mike Coope for his wonderfully professional
programme and posters, and to Candy for her usual tenacious performance
as Librarian, without whom we would be stuck without. Thanks
also to Henry and Eileen for their tireless behind the scenes
work. Thanks to all committee members for putting up with my
unusually busy term and slow email turnaround!
Have a lovely summer and rest, and hope to see you next term
for a programme of French Christmas music, including Charpentier’s
Messe de Minuit!
July 2022 |
WDCS
perform both Fauré and Duruflé Requiems
From our
Musical Director, Edd Caine...
But what a day Saturday was! I shan’t lie - there were points
during this term where I thought “Have I bitten off more
than I can chew?” The Durufle, magnificent piece though
it is, was a challenge for even the (I hope you agree) fantastic
orchestra of professional musicians that Lindy had gathered for
us.
However, whatever caused it, whether it was sheer panic or not,
you have never been more present and watched me more closely
than during that piece, and as a result I have to say it was
by far my favourite part of the concert. The sound you and the
orchestra made at the high point of the Kyrie had me in absolute
raptures and from that point on I was on cloud 9. There are always
things that could be better, entries that could be cleaner, but
at no point did anything fail, and the sound that the choir made
in the biggest moments - “Hosanna in Excelsis” in the
Sanctus, “Dies Irae, Dies Illa” in Libera Me, and “Libera
eas, de ore leonis” in Domine, Jesu Christe displayed to
me what a rich and exciting sound you can make as a choir.
Whatever your feelings about the piece, I salute every one of
you (altos especially) who stuck with this piece this and sang
it in the concert. There are some remarkably exposed moments,
especially for the Sopranos and Altos. There were also some difficult
harmonies all of which felt solid in the performance. I hope,
like me, that you found a new love of the work, which I now passionately
admire.
Don’t worry - I haven’t forgotten about the Faure!
Your performance was and was always going to be magnificent.
This was the piece I chose because I knew you’d know it
backwards and do it well. If anything it was me who had my head
still a little too much in the score during this one.
I hope you enjoyed the performance of our three soloists Ciara,
Lawrence and Suzie as much as I did. I was especially impressed
by Ciara’s performance - only a second year at the conservatoire,
and such a lovely tone! All three were impressed by how friendly
and welcoming the choir were, and I hope to have them back again,
along with Ed Harrison, who did a sterling tenor boosting job!
My one lasting regret for the concert is that there weren’t
more people there to enjoy it! This will change - it is the result
of bad timing unfortunately, and next year will be a very different
story hopefully. Most importantly I felt that with this concert
you did Beryl proud.
Finally a some huge thanks are due to the following:
Candy, who is carrying out her role as librarian with
such efficiency and brilliance that I simply can’t catch
up! Always being there with extra copies and anticipating next
terms needs makes keeps everything running very smoothly and
saves me so much work!
Mike Coope, for his excellent work on the programme, posters
and fliers which I hope you will agree are professional quality,
far above the usual fare for amateur choirs
.
Mike Hayward, for his excellent work in planning the staging
and processing for the choir, and keeping the concert running
smoothly and without a hitch. Mike’s work again assures
a level of professionalism which elevates the performance enormously.
Lindy, for her extraordinary service to the choir, and
for the wonderful orchestra. Lindy will be replaced by Sally,
who did a fantastic job in the afternoon of keeping the orchestra
and string section on task. If you not aware of it the leader
of the orchestra (Sally in this case) is in some way my interpreter
- she makes sure that communication flows well between the conductor
and the players, and she did a fantastic job thereof. I look
forward immensely to working with her again.
I’m simply running out of superlatives for Henry
and his tireless optimism and pragmatism. He shall be sorely
missed when he finally steps down, and he has been an immensely
supportive person to me in these last two terms.
Finally, thanks to the rest of the committee for their work on
ticketting, publicity and other areas, and to you for showing
your faith in me in putting on this concert.
See
Photos >>
April
2022 |
WDCS
performs its first concert for several months - Nowell ! Nowell
!
From our
Musical Director, Edd Caine...
Where to start?
I enjoyed conducting Saturday’s concert hugely and I hope
you shared my enthusiasm. You were all so present, and ready
and able from the moment you sat down in rehearsal a full 10
minutes ahead of its start. My first inkling that the concert
would be a success was when we started singing “In Dulci
Jubilo” and suddenly had to adjust to a new acoustic –
one in which we can hear each other and ourselves! One in which
creating a big round choral sound was effortless and I could
finally hear what the WDCS sounded like – a beautiful, accomplished
choral society with some very strong singers.
As to the concert – well! Despite the tiniest of wobbles
in Britten (from which you recovered remarkably!) I am so proud
of how you have taken on the challenge of all the new and unusual
things I’ve thrown at you. In Dulci Jubilo was sublime.
Well done to Clare and Neil for their solos in In the Bleak Midwinter,
and the choir made a wonderfully rich and responsive sound in
that one. Well done on the challenging I wonder as I wander,
especially getting that pianissimo! Dulce, Jesus Mío –
what can I say sopranos? What a lovely big round sound everyone
else when we came in forte. Fruit Pastilles Kyrie – so pleased
with how you coped with this – it’s a wonderful piece
and you easily did it justice.
But it was part 2 in which I feel you relaxed and really got
into your stride – Sir Christémas was exciting and
fun. Procedenti Puereo sounded amazing to me, and a whole different
beast in the acoustic and with a real organ. In the Stillness
went really well (well done Sopranos!). Tony Bridgewater approached
me afterwards to tell me how much he enjoyed your performance
of Christmas Bells and I heard many comments about how much you
seemed to enjoy singing it – at least as much as I enjoyed
conducting it! Gloucester Wassail was totally brilliant –
well done John, Clare and Mike for your solos, and Harry for
his drumming. Apparently, I was inches from falling from the
podium to my certain death while stomping!
Despite my appeal for stooges, I can’t help but feel that
the lengthy applause at the end was at least in part genuine,
and I struggled to stop them to squeeze Gaelic Blessing in (Sopranos
– about 95% this time I think!).Thank you to our readers
who did a super job. My mum (in the audience) remarked that they
were better than those she had heard in an Ex Cathedra concert
two nights before (our concerts shared The Journey of the Magi).
I felt that you all treated your readings sensitively and dramatically.
I was especially pleased to see my crazy medieval text choices
working so well in context (well done Denis and Judith!) and
one might say that Henry managed a passable Yorkshire accent!
Moments I will cherish from the concert – looking out and
seeing every one of you all looking back at me. Being able to
communicate non-verbally with nearly 50 people whom I met only
three short months ago but whose faces are now very familiar
to me. The Altos coming in bang on time in Sir Christémas.
The one solo soprano that forgot briefly that the basses introduce
Ding Dong Merrily on High. The few of you that forgot to take
your masks off after the interval. Hearing some of your voices
clearly for the first time outside of Smestow and realising what
talented singers we have in our number. All of the lovely comments
I had at the end from Audience and Choir members alike, thank
you.Finally thank you all so much for your hard work this term.
It is easy to forget what an uneasy path we’ve had to tread.
We’ve had a new director (who does this E Caine think he
is?) a new (if fleeting) accompanist, a new rehearsal venue and
a whole pandemic to deal with, which at times has had us reducing
restrictions, increasing them, taking our members away and threatening
to cancel the concert. What’s more, you haven’t sung
together like this for over 2 years, something which you used
to do regularly, so hats off for even doing it!
Apparently, it was also the most you’ve sung unaccompanied
in any concert – amazing!
Thank you to the committee, who have helped keep everything buoyant
and worked hard to make everything work. Thank you to Henry for
his unbridled support and optimism, to Eileen for helping to
book the venues and dealing with membership and emails. Thank
you to Mike Hayward for his stage direction and spare red bow
ties and to Candy for brilliantly being on hand with all the
sheet music we need in a fix. Thank you to Mike Coope for his
hard work on the programme and publicity and to him and Sheila
for selling tickets. Thanks also to Denis for his wonderful support
and brilliant medieval puritan impression.I am so much looking
forward to next term and working on the Faure and Duruflé
Requiems and can’t wait to see you all again then.Wishing
you the very merriest of Christmases and happiest of New Years
See
Photos >>
December
2021 |
WDCS
celebrates it's 90th year with a performance of Handel's Messiah.
This year is very special for Wombourne & District Choral
Society as it is 90 years since the choir was formed back in
1929. As part of the 90th anniversary celebrations, the choir
performed Handel's Messiah in conjunction with members of Wolverhampton
Grammar School Chamber Choir and the WGS Adult Choral Society.
Rehearsals are now underway in preparation for the performance
which will be with four professional soloists and an 18 piece
orchestra.
The love affair that British classical music audiences have with
this oratorio is quite phenomenal. Since its Dublin premiere
in 1742, it has been performed by choirs across the land every
year since at least 1745. Handel composed his most famous piece
in 1741, and continued to work on it after its initial performance,
finally arriving at the version we know today in 1754. Impressive
solo arias, like 'Ev'ry valley shall be exalted' and 'Rejoice
greatly, O daughter of Zion' are interspersed with compelling
chorus numbers, telling the story of Jesus' birth, life, death,
resurrection, and final victory over sin and death.
The concert was held on Saturday 7th December 2019 at St John's
Church in the Square, Wolverhampton commencing at 7.30pm. The
choir will be conducted by the Musical Director, Ian Clarke.
See
Photos >>
December
2019
From our Musical Director, Ian Clarke after
the performance...
Hi there, dear choir members.
Well...! If you are still on a high from last night's concert,
then good,
you jolly well should be!
What can I say, but thank you for your part in such a stirring
and uplifting performance. Backed by terrific soloists, and a
great orchestra, you realised so much of what I was trying to
achieve to put across and express this monumental work, with
all those varieties of style, the lightness of touch, the pathos,
and of course the glory and the splendour. There were too many
highlights to list, but suffice to say it was worth all that
detailed work in the very enjoyable rehearsals, and - I'm sure
you agree - the final amen was absolutely thrilling.
Ian
Other comments received...
"You must be very proud. Your efforts are bearing
fruit. The choir is getting stronger. The addition of the young
voices from WGS is surely contributing to that. Superb young
soloists and a clean, vibrant orchestra added to a subtle and
powerful choir made for an excellent evening. Thank you! “
"Just had to say how much we enjoyed tonight's performance.
What a treat it was. Thanks and huge congratulations all round.
Not bad for a 90 year old ! “
|
Wombourne
Choral Society celebrates 90 years of singing.
This year, Wombourne and District Choral Society are celebrating
their 90th anniversary having been formed by their Musical Director,
Harry England back in 1929. There was a special 90th Gala Celebration
Concert to be held on Saturday 13th July 2019 at the Wolverhampton
Grammar School, followed by a celebratory Buffet Supper after
the concert.
The concert was conducted by the choir's Musical Director, Ian
Clarke and will be mixture of lighter musical pieces including
songs from 'Oliver' by Lionel Bart, John Rutter's 'It was a lover
and his lass', 'The heavens are telling' from Haydn and many
other popular choral pieces which the choir has performed over
recent years. The choir of pupils from the Wolverhampton Grammar
School will also taking part in the concert.
See
Photos >>
July
2019
From our Musical Director, Ian Clarke after the performance...
Dear friends,
Thank you for a terrific concert on Saturday evening, a splendid
evening all round, nice and relaxed and varied a programme.
You sang with real commitment, as ever, and it was good to establish
a more direct musical contact with the school, which was very
much part of our original intent in using the Grammar School
Hall. There are some talented musicians at the school, our choristers
of the future!
Thank you for all your hard work, and for all those who helped
to plan themeal and the wider celebration of our 90th year, great
fun, I much enjoyed it. Well done again, and look forward to
seeing you in September.
Best of wishes - Ian |
Local
choir celebrates it's 90th year by performing the Verdi Requiem.
This year is very special for Wombourne & District Choral
Society as it is 90 years since the choir was formed back in
1929. As part of the 90th anniversary celebrations, the choir
performed Verdi Requiem in conjunction with the City of Wolverhampton
Choir. Rehearsals are now underway in preparation for the performance
which will be with four professional soloists and a 35 piece
orchestra.
Throughout the work, Verdi uses vigorous rhythms, sublime melodies,
and dramatic contrasts - much as he did in his operas - to express
the powerful emotions engendered by the text. Requiems come in
all shapes and sizes. Some, like Fauré's, are serene,
hardly so much as raising their grief-stricken voices. Others,
like Mozart's, are melancholic and rousing by turn, snapshots
of the composer's music at the time, more than any great comment
on the theme of mortality and death. Verdi's, however, fits into
a category that's almost a one-off, with Berlioz's Requiem possibly
the only other major companion work. It's in the 'blockbuster'
category.
(2019)
From our Musical Director, Ian Clarke after the performance...
Hello, friends,
I must quickly write briefly and say thank you to you all for
a wonderful performance of the Verdi! What a work, and what a
thrill it was to direct, a splendid orchestra, and cracking solos,
but you, the choir, were magnificent, and got a lot of the detail
I wanted to achieve, and absolutely got to the dramatic and emotional
heart of the piece. I'm going to have those tunes going through
my head for days! Well done, I was very proud of you!!
Concert
Reviews >> ----- Concert
Images >> |
Wombourne
& District Choral Society's concert is in 'The Spirit of
Christmas'.
Wombourne and District Choral Society performed their Christmas
Concert entitled 'The Spirit of Christmas' - A Concert of Seasonal
Words and Music' at Beckminster Methodist Church in Birches Barn
Road, Wolverhampton on Saturday 15th December 2018, commencing
at 7.30pm. The concert was conducted by the choir's Musical Director,
Ian Clarke.
(December
2018) |
Wombourne
& District Choral Society to perform the Schubert Mass
Wombourne and District Choral Society performed the Schubert
Mass in E Flat Major with professional soloists and a 28 piece
orchestra.
The concert was held on Saturday 24th November 2018 at the Wolverhampton
Grammar School in Compton, Wolverhampton WV3 9RB, commencing
at 7.30pm. The choir was conducted by their Musical Director,
Ian Clarke.
During the last year of his short life, Schubert composed a phenomenal
amount of music. His Mass No. 6 in E-flat Major was composed
for the same Viennese church in which he had served as one of
Beethoven's pallbearers. This mass was intended for concert,
not liturgical use, and it reverberates with Beethovenesque architecture
and Schubertian lyricism. The scoring is unique, giving an active
role to the three trombones, emphasizing the lower woodwinds
and brass, and making hypnotic use of the timpani. Schubert uses
a block-like treatment of the orchestra's three instrumental
families, which play together in symbolic expression of the working
of the Trinity.
(November
2018) |
Womborne
& District Choral Society's concert is 'Down by the Riverside'.
Following their highly acclaimed performance of the Mozart Requiem
in March of this year, the Wombourne and District Choral Society
performed their next concert which is entitled 'Down by the Riverside',
a light-hearted celebration of all things of a watery nature,
in folksongs and ballads, poetry and readings, from a variety
of periods and places.
The concert was held on Saturday 14th July 2018 at the Wolverhampton
Grammar School in Compton, Wolverhampton WV3 9RB, commencing
at 7.30pm. The choir was conducted by their Musical Director,
Ian Clarke.
(July
2018) |
Local
Choir to perform Mozart's Requiem at their Spring Concert.
At their Spring Concert, the Wombourne & District Choral
Society performed Mozart's Requiem, one of the most famous choral
works in the classical repertoire. The concert was held on Saturday
24th March 2018 at the Church of St John's in the Square, Wolverhampton
commencing at 7.30pm.
The Requiem in D minor, K. 626, is a requiem mass by Wolfgang
Amadeus Mozart, one of the most famous Choral works in the Classical
repertoire.
Mozart composed part of the Requiem in Vienna in late 1791, but
it was unfinished at his death on 5 December the same year. A
completed version dated 1792 by Franz Xaver Süssmayr was
delivered to Count Franz von Walsegg, who had commissioned the
piece for a Requiem service to commemorate the anniversary of
his wife’s death on 14 February.
The autograph manuscript shows the finished and orchestrated
Introit in Mozart’s hand, and detailed drafts of the Kyrie
and the sequence Dies irae as far as the first eight bars of
the Lacrimosa movement, and the Offertory. It cannot be shown
to what extent Süssmayr may have depended on now lost “scraps
of paper” for the remainder; he later claimed the Sanctus
and Agnus Dei as his own.
Walsegg probably intended to pass the Requiem off as his own
composition, as he is known to have done with other works. However,
this plan was frustrated by a public benefit performance for
Mozart’s widow Constanze. She was responsible for a number
of stories surrounding the composition of the work, including
the claims that Mozart received the commission from a mysterious
messenger who did not reveal the commissioner’s identity,
and that Mozart came to believe that he was writing the requiem
for his own funeral. These ‘conspiracy stories’ are
largely discredited, but have led to other speculative writings
and works, such as the celebrated Peter Schaffer play ‘Amadeus’,
which have to some extent perpetuated the myth.
In addition to the Süssmayr version, a number of alternative
completions have been developed by musicologists in the 20th
century. However, the Süssmayr remains the version favoured
in the vast majority of performances, retains the authentic voice
of the time itself, and is much-loved by choirs and audiences
alike.
(March
2018) |
Come
pull a 'Christmas Cracker' with Wombourne & District Choral
Society
Wombourne and District Choral Society performed their Christmas
Concert entitled 'A Christmas Cracker' - A Concert of Seasonal
Words and Music' at Beckminster Methodist Church in Birches Barn
Road, Wolverhampton on Saturday 16th December 2017, commencing
at 7.30pm. The concert was conducted by the choir's Musical Director,
Ian Clarke.
(December
2017)
|
Thrilling
performance of Dvorak's Stabat Mater
At their
Autumn Concert, the Wombourne & District Choral Society performed
Dvorak's Stabat Mater. The Stabat Mater is a Latin hymn compiled
by the Franciscan Monk Jacapone di Todi, the Crucifixion scene
viewed from the point of view of Jesus's grieving mother. Dvorak's
setting is one of the composer's most profound and moving sacred
works. First performed in Prague in 1880, the work quickly found
favour, with performances in Budapest, and then in England, where,
in 1884, at London's Albert Hall, Dvorak himself conducted. Its
tumultuous success won the composer worldwide fame, and has remained
an enduring favourite with singers and players.
(2017)
What can I say but thank you for a thrilling performance of
the Dvorak yesterday! Well done indeed on producing the goods
once more...there were some lovely, and telling moments, Virgo
virginum has never sounded better, and the Amen chorus at the
end was stunning, especially with the glorious soloists leading,
but so much was so good, I thought we really got to the heart
and emotional core of the music, and whilst quite hard intensive
work for me, I still enjoyed every minute, so I hope you did
too.
A pity I was still awake at 3 in the morning with those tunes
buzzing around my head, but that goes with the territory! Hopefully
I'll be well recovered by Monday evening, so look forward to
seeing you again then!
Thanks again for a memorable and stunning concert, fantastically
done!
Very best wishes, Ian
|
Womborne & District
Choral Society's concert is the 'Best of British'.
Following their highly acclaimed performance of St Matthew Passion
in April of this year, the Wombourne and District Choral Society
are now busy practising for their next concert which is entitled
'The Best of British', a light-hearted celebration of the four
home nations of the British Isles, in folksongs and ballads,
poetry and readings, from a variety of periods up to the present
day.
The concert was held on Saturday 15th July 2017 at the Wolverhampton
Grammar School in Compton, Wolverhampton WV3 9RB, commencing
at 7.30pm. The choir was conducted by their Musical Director,
Ian Clarke.
(July
2017) |
Audience
praises performance of Bach's St Matthew Passion in Wolverhampton
Church.
The performance
of Bach's St Matthew Passion by Wombourne and District Choral
Society received high praise from many members of the audience,
which filled the church of St Johns in the Square in Wolverhampton.
After a gloriously sunny day, the choir of 80 members together
with the Chameleon Arts Baroque Orchestra from London and professional
soloists conducted by the choir's Musical Director Ian Clarke
welcomed their special guest the High Sheriff, Dr. Keith Bradshaw
and his wife Pam before beginning the performance of what is
regarded as one of the masterpieces of classical sacred music.
The conductor Ian Clarke commented "What a work! One I've
always wanted to conduct, and it was a privilege to perform it,
and with such a wonderful combination of forces, too. A great
orchestra, with lovely solo players and an excellent organist
and continuo section: fabulous soloists, the fine Evangelist,
tenor Ben Alden, baritone Piran Legg singing the words of Jesus
with great expressiveness and beauty, Soprano Rosie Lomas and
Mezzo-Soprano Emily Kyte adding extra colour and gloss to the
performance, all these singers rising stars in the musical world:
and the choir too did magnificently, and can be justly proud
of their achievement, giving a vivid account, committed, dramatic,
both soulful and spiritual. I couldn't have asked for more, and
the performance will live long in my memory."
The next two concerts in 2017 to be given by the choir will include
'The Best of British - A celebration of the best of British music'
on Saturday 15th July followed by a performance of Dvorak's 'Stabat
Mater' on Saturday 25th November, both concerts being staged
at their new venue of the Wolverhampton Grammar School in Compton.
(2017) |
Local
choir to perform official UK premiere of Christmas Anthem from
America.
At their
Christmas Concert at St Mary and St Chad's Church in Brewood,
Wombourne and District Choral Society performed amongst other
seasonal words and music, the official UK premiere of the Christmas
anthem 'All Praise to Thee' by American composer, Elaine Hagenberg.
Elaine Hagenberg's compositions have been awarded and performed
by churches, schools, universities, honor choirs and choral festivals
throughout the United States and abroad. Notable performances
include the National Youth Choir at Carnegie Hall, the C. S.
Lewis Foundation Symposium in Kings College Chapel in Cambridge,
England, the International Eisteddfod in Llangollen, North Wales,
the Melbourne International Choral Festival in Australia, North
Central and Central American Choral Directors Association Conferences,
the Green Lake Fellowship of American Baptist Musicians National
Conference, the Texas Collegiate Women's Choir Festival, All
Virginia State Chorus, the 2017 Arkansas All State Chorus, the
Iowa State University Honor Choir, the Iowa Choral Directors
Association Opus Honor Choir, performances with the American
Boychoir, as well as international performances in South Africa
and throughout Europe.
The anthem was introduced to the choir by Pattingham musician,
John Fellows and so impressed their Musical Director, Ian Clarke
that it was decided to include the piece in the choir's Christmas
Concert entitled 'It's Christmas Time'. The concert took place
on Friday 16th December at St Mary and St Chad's Church in Brewood,
commencing at 7.30pm. The concert will be conducted by the choir's
Musical Director, Ian Clarke and accompanied by the renowned
organist, Mark Pescott.
(December
2016) |
|
Wombourne & District
Choral Society to perform the St Paul oratorio by Mendelssohn.
Likely to be the first performance in the West Midlands for over
a century, members of Wombourne and District Choral Society are
busy rehearsing the oratorio 'St Paul' by Mendelssohn for their
next concert, on Saturday 26th November 2016 at the Church of
St John's in the Square in Wolverhampton, starting at 7.30pm.
Musical Director Ian Clarke will conduct, the work will be accompanied
on the organ by Mark Pescott, and the title role sung by Welsh
baritone Gwion Thomas, a Tutor at the Birmingham Conservatoire.
In 1831 Mendelssohn was commissioned
by Johann Schelble, conductor of the Cecilia Choir and Orchestra
of Frankfurt, to compose an oratorio. The Bible was a constant
source of inspiration for his choral works, and Mendelssohn here
turned to the life of St Paul. Given his high regard for the
choral masterpieces of Bach, Handel and Haydn, it is no surprise
to find that St Paul is modelled on similar lines, Using a typical
integrated scheme of recitatives, arias and choruses, the story
begins with the martyrdom of Stephen, and Saul's collusion in
this act. Saul's persecution of the Christians is then followed
by his dramatic conversion, in which the voice from heaven, 'Saul,
Saul, why persecutest thou me?' is strikingly given by 4-part
women's chorus. Part II finds Paul and Barnabas becoming the
ambassadors of the Church. Their duet is followed by one of the
oratorio's best-loved choruses, 'How lovely are the messengers'.
We then hear of the Jews' attempted entrapment of Paul the work
ending with Paul leaving his church at Ephesus and sailing for
Jerusalem, and new challenges.
The first performance on May 22nd 1836 took place at the Lower
Rhine Music Festival in Düsseldorf. Its first performance
in England was given in Liverpool in October 1836, and the following
year Mendelssohn himself conducted it at the Birmingham Festival,
to enthusiastic acclaim.
(November
2016)
|
|
Spend a nautical evening
of song with Wombourne & District Choral Society
Bring your waterproofs when you come to the Wombourne & District
Choral Society's next concert which will be an evening of nautical
songs and readings, entitled 'The Sea! The Sea!'.
The concert was held on Saturday
16th July 2016 at the Beckminster Methodist Church in Penn Fields,
Wolverhampton, commencing at 7.30pm.
The choir with their conductor,
Ian Clarke, performed several pieces with a nautical flavour,
including four sea shanties, 'Blow the Wind Southerly', 'O Mistress
Mine', 'Sea Fever' with John Oxley as the soloist, 'The Willow
Song', excerpts from Gilbert & Sullivan's 'Pinafore', plus
a new song 'All Must Sail Away' composed by Claire Lakha, a choir
member, and arranged by our Musical Director, Ian Clarke. There
was also several readings by choir members, again of a nautical
nature.
(July
2016)
|
Wombourne & District Choral Society to perform
a Spring Concert of Passion Music
Wombourne and District Choral Society's are busy rehearsing for
their next concert in March to be called 'Music for Passiontide'
and to include 'The Crucifixion' by John Stainer, Sacred works
by Brahms and Mendelssohn and the 'Five Lenten Motets' by Antonin
Tucapský. These will be performed with the organ and soloists,
conducted by the choir's Musical Director, Ian Clarke.
The concert was held on Saturday 19th March 2016 at the Church
of St John's in the Square in Wolverhampton WV2 4AT, commencing
at 7.30pm.
Sir John Stainer, born in London in June 1840, was an English
composer and organist whose music, particularly The Crucifixion,
was very popular during his lifetime and afterwards. His work
as choir trainer and organist set standards for Anglican church
music that are still influential. He was organist at Magdalen
College, Oxford and subsequently at St Pauls's Cathedral. He
was also active as an academic, becoming Heather Professor of
Music at Oxford. He retired due to his poor eyesight and deteriorating
health, dying unexpectedly whilst on holiday in Italy in 1901.
Antonin Tucapský was born in 1928 in Czechoslovakia, where
he studied before beginning his career as composer, teacher and
conductor. He studied choral conducting and graduated from Masaryk
University, Brno in Music Education and Musicology. In 1951 whilst
teaching, he became a member of the well-known Moravian Teachers'
Male Voice, later becoming their choirmaster. He gained his PhD
in 1967 and in 1975 he moved to England and became a Professor
of Composition at Trinity College of Music in London where he
remained until his retirement in 1996. His compositions have
been published across the world and he died on September 9th,
2014 at the age of 86.
(March
2016) |
|
Wombourne & District
Choral Society to perform Haydn 'Nelson' Mass and Vivaldi 'Gloria'.
Wombourne and District Choral
Society's next concert performance in November will centre on
the 'Nelson' mass, originally called the 'Mass for Troubled Times'.
It was written at a time of intense fear for the citizens of
Austria, whose army had been defeated in four major battles by
Napoleon Bonaparte. His army had crossed the Alps, and even threatened
Vienna itself. Haydn's mighty choral work is now forever associated
with Admiral Horatio Nelson's victory over Napoleon and is, according
to Joseph Haydn's biographer, arguably the composer's "greatest
single composition". This wonderful work is scored for strings,
three trumpets, and timpani, reflecting its martial background.
Vivaldi's Gloria has a gloriously
sunny nature, and is characteristic of all of the composer's
music, its distinctive melodies and driving rhythms giving it
an immediate and universal appeal.
The programme will also include
a glittering concerto for three trumpets by Telemann to help
to raise the roof!
The concert was held on Saturday
28th November 2015 at the Church of St John's in the Square in
Wolverhampton WV2 4AT, commencing at 7.30pm. The choir was conducted
by their Musical Director, Ian Clarke and accompanied by professional
soloists and orchestra.
(November
2015)
|
Wombourne & District Choral Society performs
'A Song for all Seasons'.
Following their highly acclaimed performance of Brahms Requiem
in March of this year, the Wombourne and District Choral Society
are now busy practising for their next concert which is entitled
' A Song for all Seasons'. The Concert will be an evening of
light music and readings on the theme of the four seasons of
Spring, Summer, Autumn and Winter and will include an eclectic
mix of music from Purcell to Rutter, with readings from Shakespeare
to P G Wodehouse and beyond.
The concert was held on Saturday 18th July 2015 at Beckminster
Methodist Church in Birches Barn Road, Penn, Wolverhampton WV3
7BQ, commencing at 7.30pm. The choir was conducted by their Musical
Director, Ian Clarke.
(July
2015) |
|
Local Choir
to perform Brahms Requiem in St John's Church, Wolverhampton
Following their highly acclaimed performance of Handel's Messiah
back in November 2014, the Wombourne and District Choral Society
are now busy practising for their next concert which will feature
Brahms Requiem.
This Requiem is not primarily
a Mass for the dead. Instead, it is intended as comfort for those
who mourn and who feel the pain of the death of others. By the
time he began writing the work in 1865, Brahms had just experienced
such loss extremely personally: his mother had died that very
same year.
The concert was held on Saturday 28th March 2015 at St John's
Church in the Square in Wolverhampton WV2 4AT, commencing at
7.30pm. The choir will be accompanied by a piano duet (Samantha
Carrasco and Nicholas Salwey) together with guest soprano and
baritone soloists, all conducted by the choir's Musical Director,
Ian Clarke.
(March
2015)
|
|
Previous performances
include:
November 2015 - Haydn's Nelson Mass and Vivaldi's
Gloria
July 2015 - A Song For All Seasons. Songs, Poetry
and Piano Duets for the 4 seasons: from Haydn to Rutter
March
2015 - Brahms Requiem
December
2014
- Handel's Messiah
July 2014 - Pack up your Troubles. A programme
to commemorate the First World War
April
2014 - Jongen Mass Op
130 and Bruckner Motets
December
2013 - A Dickens of a
Christmas. A programme of readings and carols
November
2013 - Vaughan Williams
5 Mystic Songs and Sea Symphony
July 2013 - The Ages of Man - including Rutter's
Childhood Lyrics, Madrigals, Readings and Music by Finzi and
Sullivan
March
2013 - Faure's Requiem,
Cantique de Jean Racine, Stanford's Magnificat and Nunc Dimittis,
and Mendelssohn's Hear My Prayer
November
2012 - Mendelssohn's
Elijah
July 2012 - This Joyful Jubilee - Music of the
two Elizabeths including, Zadok the Priest, and The Kind Shall
Rejoice by Handel, Choral Dances from Gloriana by Britten, Madrigals
and Vaughan Williams Three Elizabethan Part Songs
March
2012 - 'Come and Sing'
Handel's Messiah
March
2012 - Captain Noah and
His Floating Zoo by Michael Flanders and Joseph Horovitz, with
St Nicholas' First School, Codsall
December
2011 - Carol Concert
November
2011 - Rutter Requiem
and Schubert Mass in G Minor
July 2011 - 'I was Glad': a celebration of English
anthems
April
2011
- Bach Mass in B Minor with
the Chameleon Arts Orchestra of London using period instruments
December
2010 - Christmas concert
performing Vivaldi's Gloria and Saint-Saens Christmas Oratorio,
with Carols
September
2010 - Choral Workshop
'The gift of Singing' performing Rutter's Requiem
May 2010 - Joint concert with our French partner
choir, Chorale Chantemoy
March
2010 - Music for Holy
Week, including Durufle's Requiem and the first performance in
the West Midlands of Antonin Tucapsky's The Sacrifice
December
2009 - Israel in Egypt
by Handel, with Christmas carols and the Hallelujah Chorus
Autumn
2009 - An Abundance of
Anniversaries - a choral workshop on behalf of the Churches Conservation
Trust, including works by Haydn, Handel, Mendelssohn and Purcell
Summer
2009 - Summer Music -
a further selection of English madrigals, including John Rutter's
Birthday Madrigals, opera choruses and piano duets
Spring
2009 - The Creation by
Haydn
Christmas
2008 - two performances
of works by Ralph Vaughan Williams, including Five Mystical Songs
and Fantasia on Christmas Carols
Summer
2008 - Summer Music -
a selection of English madrigals, opera choruses and piano duets
Spring
2008 - Petite Messe Solennelle
by Rossini
Christmas
2007 - two performances
of Messiah by Handel
Summer
2007 - Concert Party
featuring a selection of madrigals, opera choruses and other
light works
Spring
2007 - St John Passion
by J.S.Bach
Christmas
2006 - Saint Nicolas
by Britten, Magnificat by John Rutter
Summer
2006 - Liebesliederwalzer
by Brahms, Three Elizabethan Partsongs by Vaughan Williams
Spring
2006 - Requiem by Mozart,
Zadok the Priest by Handel, The Heavens are Telling by Haydn
Christmas
2005 - Farewell concert
for retiring Musical Director David Parkes, featuring Rossini's
Stabat Mater and Borodin's Polovtsian Dances
Summer
2005 - Concert Party
featuring Hiawatha's Wedding Feast by Coleridge-Taylor, and individual
items by choir members
Spring
2005 - 2 concerts of
varied music with a European theme, in partnership with French
choir 'Chorale Chantemoy', including premiere of David Parkes'
Sephton Motet
Christmas
2004 - Gloria by Poulenc,
Evening Canticles by Parkes, Ave Maria by Rachmaninov
Summer 2004 - Summer
Song by Dvorak
Spring
2004 - A German Requiem
by Brahms
Christmas
2003 - Nabucco by Verdi
Spring
2003 - various ecclesiastical
works by English and French composers
Christmas
2002 - A Christmas Cantata
by Honegger
Summer
2002 - HMS Pinafore by
Gilbert and Sullivan
Spring
2002 - The Dream of Gerontius
by Elgar
Autumn
2001 - 'Come and Sing'
Requiem by Mozart and Zadok the Priest by Handel
Summer
2001 - The New Moon by
Romberg
Spring
2001 - Gloria by Vivaldi
and Dixit Dominus by Handel
Christmas
2000 - Requiem by Rutter
and Stabat Mater by Parkes
Summer
2000 - The Mikado by
Gilbert and Sullivan
Spring
2000 - Requiem by Verdi
Autumn
1999 - 'Come and Sing'
The Messiah by Handel
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