Christmas 2011 Charity Events
The choir presented three Christmas celebrations this year, all in aid of local charities: at The Great Barn, Lower Ashton in aid of the Exeter School Namibia project and essential repair work to the local church, at Buckfast Abbey supporting ageUK Exeter and at St.Mary Arches Church in Exeter in aid of the St.Stephen’s Restoration project, a concert which also featured the accomplished Todd Gibson-Cornish on bassoon.
The events included many traditional and congregational carols, selections from Andrew Daldorph’s Seven Joys Carol Collection together with modern settings such as Tavener’s ‘The Lamb’ and Rutti’s ‘O Magnum Mysterium’.
Autumn Concert of Music by Britten
UNITED REFORM CHURCH, Southernhay, EXETER
Saturday 15th October, 7.30pm
The choir, conducted by Andrew Daldorph, performed an all Britten concert at the United Reformed Church in aid of Force, the Exeter based cancer charity. The programme included 'Rejoice in the Lamb' (a cantata for four soloists, conducted by Tina Guthrie, with organ played by Andrew Daldorph), the 'Hymn to St.Cecilia' and selections from A.M.D.G. (Ad Majorem Dei Gloriam, settings of poems by Gerald Manley Hopkins). This last work was written in 1939 but not published in Britten’s lifetime. It was given a first public performance in London in 1984 and eventually published in 1989. The concert also included a number of solo songs and folk song arrangements by Britten accomanied by by Andrew Daldorph on piano.
Response to the concert was most enthusastic:
‘Wonderful music, beautifully sung. I thoroughly enjoyed every minute of it.’
(Mervyn Hayes, representing Exeter FORCE Cancer Charity)
‘The whole evening of Benjamin Britten was absolutely delightful.’
‘Andrew Daldorph's accompaniment of the solo singers was so sensitive.’
The Jazz of Life
in BEER and NEWTON ST CYRES PARISH CHURCHES
16th & 19th July 2011
These two concerts provided a celebration of jazz's contribution to different types of music.
Both concerts included jazz pianist, George Shearing's, Songs and Sonnets of Shakespeare, three of Tippett's spirituals from a Child of our Time and a new work ‘A Mass for Life' composed by Andrew Daldorph and accompanied by a jazz quintet.
Overheard in the interval:
‘Enjoying the evening?’ ‘Fabulous’.
‘The choir were enjoying themselves so much’.
‘A real treat’.
‘He just knows what he’s doing doesn’t he (about Andrew the conductor)?’
‘I loved the Shakespeare arrangements’.
‘That’s what I call religion with a punch’ (about ‘A Mass for Life').
Photo from Joe Dunckley's flikr photostream
A Feast of German Romantic Music
in CREDITION PARISH CHURCH
5th March 2011
'A feast of German Romantic Music' provided a rich and varied banquet. We thought that the balance of the music from the Beare Trio and the singing from Exeter Chamber Choir was just right, the one complementing the other to give a real flavour of this musical period. The opening Rheinberger piece was magical; the church setting helped, as did the choir's position, so remote from the audience.
Above all, the singing was a delight, and probably reflected the stringent demands made upon the choir by Andrew Daldorph.' (an audience member)
The programme included movements from trios by Beethoven, Bruch and Brahms played by the Beare Trio - Chris Gradwell (clarinet), Hilary Boxer (‘cello) and Andrew Daldorph (piano). The choir sang Psalm settings by Schubert and Mendelssohn and motets by Rheinberger, Bruckner, Brahms and Mendelssohn.
CHRISTMAS SERVICE AT BUCKFAST ABBEY
14th December 2010
In this traditional style carol service the choir sang a selection of carols, old and new, mixed in with seasonal readings.
The service started with Morten Laurisden's popular 'O Magnum Mysterium'. The choir also performed three chorales from Bach's Christmas Oratorio, and several compositions by Andrew Daldorph, including carols from his 'The Seven Joys' carol collection and his setting of the Lord's Prayer.
The retiring collection at the service was in support of Age Concern, Exeter.
BACH'S CHRISTMAS ORATORIO
with Devon Baroque
Exeter Cathedral - 4th December 2010
‘Some of the most sensitive Bach singing I've ever heard in the Cathedral.'
- Quote from a local violin teacher
'Listening to the Exeter Chamber Choir perform Bach's Christmas Oratorio I was struck by the balance and clarity of the ensemble in even the densest music. The singing was nimble, stylish and articulate and full of festive bounce. As a soloist, I routinely sit facing the audience during choral movements; the choir's singing drew smiles, grins and even broad beams!'
- Quote from one of the soloists
‘The choir sounded terrific, very crisp, confident and clear, right to the back of the Cathedral.'
- Quote from a local singer
MUSIC TO UPLIFT THE SOUL
CONCERT at St MARY'S CHURCH, TOTNES - 9th October 2010
In between, local recorder player James Risdon gave the audience a perky descant arrangement of a Handel violin sonata, a gentle autumnal Lux Aeterna from German composer Markus Zahnhausen and a spirited and idiosyncratic performance of York Bowen’s Recorder Sonatina (1939) which matched its querky style.
The excerpts from Bach’s Christmas Oratorio (to be performed with Devon Baroque on 4th December in Exeter Cathedral) were alert and dancelike, and displayed joy and drive in putting over the Christmas message. Andrew Daldorph conducted with precision and flair, which bodes well for the Bach concert.
CONCERT at BUCKFAST ABBEY - 17th July 2010
“I loved every moment of the concert; I liked the Pärt being sung from under the Tower, I thought the organ playing was fantastic and I had never heard the Howells Requiem before. I was blown away by all the music and can’t wait for the next concert.” (a member of the audience)
The choir‘s summer concert was a real mixture of old and new, known and unknown. Early music was represented by the busy but very beautiful Loquebantur variis linguis by Thomas Tallis, and a setting of Pater Noster (The Lord’s Prayer) by Jacob Handl from Slovenia. The modern music the choir sang was Totus Tuus by the Polish composer Henryk Górecki written on the occasion of the visit of Pope John Paul II in 1989 and a setting of the Magnificat, also from 1989, by the Estonian composer Arvo Pärt.
The centrepiece of the concert, the Requiem by Herbert Howells, was written in 1936 and set for divided mixed chorus with soprano, tenor and baritone soloists. This unaccompanied work arose from the tragic early death in 1935 of the composer's nine year-old son and remained unpublished until 1980 shortly before the composer’s death. The work has an exquisite but painful poignancy which was perfected captured by the choir’s very expressive and moving performance.
SUMMER CONCERT at SHARPHAM HOUSE, Nr TOTNES - 5th June 2010
Over a weekend in June the Exeter Chamber Choir held a series of workshops for members of the Choir in the idyllic setting of the Sharpham Estate near Totnes. During the weekend the Choir also prepared for a public concert on the Saturday in the historic Sharpham House. The concert included movements from a setting of the Mass by William Byrd, several of the Tippett arrangements of spirituals from “A Child of Our Time” and George Shearing’s jazz settings of well-known Shakespeare poems.
Sharpham House is a Palladian mansion set in a Capability Brown landscape overlooking the River Dart. The House possesses a most magnificent staircase, and the concert started in the stairwell of the House, with the choir positioned around the balcony at the first floor level, and the audience distributed on chairs and cushions on the staircase itself. In the first part of the concert the exquisite sound of movements from the Byrd Mass and the uplifting Tippett spirituals were interspersed with solos from members of the choir, filling the vault of the staircase with quite sublime music.
Later, for the performance of the Shearing pieces and more solos, the musicians and audience moved to an elegant reception room on the first floor overlooking the park beyond. The Shearing arrangements with their subtle jazz harmonies & rhythms provided a welcome contrast to the more serious Byrd and Tippett.
Several members of the audience found the sound of the choir filling the stairwell a quite unique experience. The day after the concert, on the Sunday, the choir sang movements from the Byrd Mass for the Eucharist service at the church in Ashprington. And apparently several of the audience from the previous evening attended the service just to hear the Mass movements again.
BACH'S ST JOHN PASSION - DARTINGTON GREAT HALL - 13th March 2010.
“The recent performance of Bach's St John Passion was an evening to remember. Accompanied by Devon Baroque and five superb vocal soloists, the skillfully-blended voices and early instruments whispered, rang and soared in the very special space of Dartington’s Great Hall. In the second part, the Chorale, "Durch dein Gefangnis, Gottes Sohn", took my breath away and stole my heart. I had the privilege of studying early music at Dartington years ago, and this concert was well up to its very high standards.
“The Exeter Chamber Choir performs an amazingly broad range of music, and all at a very high level. The Monteverdi Vespers at Exeter Cathedral a few years ago was, for me, a once-in-a-lifetime and spellbinding performance. Sadly, I can't make it to all of the choir's performances, but I sure would if I lived in the UK!”
“A really uplifting and enjoyable performance of this wonderfully expressive Easter work. The arrangement on stage of singers and players gave it a particularly fine balance and intensity, and the beautifully executed performance by Devon Baroque and the soloists alike made this an unforgettable experience - it was a joy to attend, thank you.”
CHRISTMAS CONCERTS IN & NEAR EXETER AND AT BUCKFAST ABBEY – DECEMBER 2009.
The choir performed three concerts this Christmas, the first as a fundraiser for Doddiscombsleigh Primary School at The Great Barn in Lower Ashton, together with a concert in Exeter and a service at Buckfast Abbey. They sang the usual selection of carols old and new mixed in with seasonal readings. However, the highlight of the two public events was Britten's 'Ceremony of Carols' and Andrew Daldorph's 'The Seven Joys' carol collection, newly composed carols accompanied by Sue Sherratt on the harp. These performances were both well received and also proved very popular with choir members. The proceeds of the Exeter concert went towards supporting the St.Stephen’s Church Restoration Fund and the retiring collection at Buckfast Abbey was in support of the South-West Children’s Hospice.
SONGS OF HOPE & CREATION - EXETER CATHEDRAL - 31st October 2009
A recording of this performance of Songs of Hope and Creation is available on a double CD priced just £8 (+ £1 postage and packing). Please send a cheque for the correct amount and post with the completed order form . (Click here to access the order form.) Extracts from the CD can be heard on the "Listen to the Choir" page.
The oratorio, Songs of Hope and Creation, was composed by the Choir's conductor, Andrew Daldorph. Here is a selection of comments made about the performance:
“We thoroughly enjoyed the concert on Saturday evening. We were truly astounded by the quality of the music and clearly we were not alone in this.” Audience member
“What a triumph of musicianship, communicaton and inspiration not only in the work itself but in everything else involved in your bringing about the performance.” Choir member
“I find the lines “Be cheerful in everything you do” and “I will show your light to those in trouble” constantly springing into my thoughts.” Choir member
“To find words to describe how much our party of four enjoyed it all is quite difficult. It was wonderful, spectacular, beautiful, entertaining and supremely enjoyable from beginning to end, the cathedral nave providing a truly grand setting. We who live in this delightful county are indeed fortunate to have available your Chamber Choir, such talented musicianship, and your great skill as a composer and conductor. Many congratulations to you all and profound thanks for a memorable experience.” Audience member.
“What a triumph on Saturday! We were on our feet with everyone else at the end.” Audience member
“It was a fantastic evening - I've never seen a reaction like that in the cathedral before.” Orchestra member.
“Fantastic. Fabulous. Phenomenal. Still haven't come down from the experience.” Choir member
“This work is deserving of a wider audience and we hope that sufficient people have become aware of this and will spread the word.” Choir member
“It was quite an evening, and the audience reaction was terrific- well done indeed for producing such an interesting and unusual work in all its diversity- I hope that you can interest other choral groups in further performances.” Orchestra member
“What a wonderful night! It was such a joy to be part of the performance in the Cathedral on Saturday and I know that it had an enormous impact on the audience. My guests had not heard it before and were thrilled to be there.” Choir member
“Thanks for an extraordinary experience on Saturday, the audience were clearly in raptures with the piece, I've still got the tunes buzzing in my system!” Orchestra member
“I just had to email to say how brilliant it was last night.I thoroughly enjoyed it and was utterly moved by the beauty of the work and its contrasts and just loved the jazz bits woven in. A thoroughly wonderful work. The standing ovation was spontaneous.
I loved it all,and especially the "Sing a New Song" with the wonderful Sax playing by Chris Gradwell, so reminiscent of Jan Garbarek.
Really hauntingly beautiful.” Audience member
It was a pleasure to be involved. A memorable concert, and a refreshingly different direction to travel along.” Orchestra member
SUMMER CONCERTS IN TOTNES AND LOWER ASHTON – JUNE 2009
The choir performed two summer concerts in St.Mary's, Totnes, and The Great Barn at Lower Ashton near Exeter. The latter event included a salmon and strawberries supper after the concert in a marquee in the courtyard. Fortunately it was a lovely evening!
Both events included a relaxing yet stimulating mixture of English Madrigals (Gibbons, Vautor, Dowland and Wilbye) and Part-songs (Finzi, Pearsall, Sullivan and Stanford), together with Howard Skempton's Rise up my Love, four sacred settings of verses from The Song of Solomon written in 2005. The choir also performed four selections from their conductor, Andrew Daldorph's, new cantata, Songs of Hope and Creation, which received a full performance in Exeter Cathedral on 31st October 2009. (See comments on the Cathedral concert above.)
LENT CONCERTS 2009
St. Mary’s Church : Totnes
Saturday, 7th March, 2009
St. Michael’s : Mount Dinham, Exeter
Friday, 13th March, 2009
Jesu Meine Freude J. S. Bach (1685 – 1750)
Jesu Mein Freude is the earliest of the Bach motets. It is by far the longest and the most complex in its layout. It is practically a passion setting in itself, ending with an uplifting chorale that reinforces the message of the resurrection.
Miserere Mei Gregorio Allegri (1582 – 1652)
Allegri was a singer in the Sistine Chapel and composed many of his works for the Papal Choir. His reputation rests on the Miserere, a psalm setting traditionally sung every Holy Week : it is basically a simple five-part chant, transformed by interpolated ornamented passages for a four-part solo choir which reaches a top C - rare at that time.
Legend has it that the Pope once decreed that it could only be performed at the Vatican, and only under conditions of special care due to its spiritual power. Legend continues that this monopoly was broken when Mozart (as a child) heard the piece and, from one hearing only, transcribed the music into print form and distributed it from there. Perhaps this is an embellishment, but it is a romantic story befitting the piece.
Mass For Double Choir Frank Martin (1890 – 1974)
Martin was born in Geneva. The details of his life are unremarkable. In photographs he is likened to a cordial pastor of a sleepy Swiss hamlet. He is, however, one of the greatest religious composers of the last two hundred years, with Messiaen his only contemporary rival.
Messiaen, a perfect Catholic, celebrated God with exuberance and panache; Martin, the good son of a Calvinist minister, argued for faith as a constant struggle. For many years, he refused to release his Mass for Double Choir, written in 1922, on the grounds that it was unworthy of the Lord.
Andrew Daldorph writes:
These concerts posed different challenges for the choir.
Buckfast Abbey has a glorious acoustic which is sympathetic to the voice but requires great precision from the singers. We exploited the space in the Abbey by singing Allegri’s Miserere from the tower and separating the quartet of soloists by placing them in the chancel. The effect was quite electric and well received.
Mount Dinham church has an equally impressive acoustic but needs the singers to project the voice more. The Choir rose to the challenge and I was delighted by the performance.
Critical comment:
Andrew Daldorph sets a demanding pace in his interpretation of the Bach Motets but Exeter Chamber Choir were equal to the challenge. He demands precision and gets it!
The highlight for me was the chorale “Guten Nacht 0 Wesen” with a stentorian cantus firmus from the altos through a delightfully lyrical tenor line – it was superbly sung.
Allegri’s Miserere has always been a favourite of mine – I was disappointed not to see the Choir perform but the wash of sound from their distant location was a real musical experience.
Exeter Chamber Choir did more than just perform Martin’s Mass – it was clear that the singers found the work inspiring – they were fully involved in the music and aware of its emotional impact.
Absolutely astounding!
Every dynamic was observed and exploited to the full.
The hairs on the back of my head tingled – and they do now – just to think of it again!
Martin’s Mass deserves a more frequent place in the concert repertoire and it is to be hoped that Exeter Chamber Choir will offer us repeat performances in the future.
Thank you for an amazing concert.
CHRISTMAS CONCERTS IN EXETER AND AT BUCKFAST ABBEY – DECEMBER 2008.
The choir performed a Christmas concert in Exeter and a service at Buckfast Abbey.
Both events included traditional carols sung by the choir and the audience and a setting of Hodie Christus Natus Est by their director, Andrew Daldorph, together with Britten’s wonderful Hymn to the Virgin. The service at Buckfast Abbey began with a setting of O Magnum Mysterium by the Swiss composer Carl Rütti (b.1949).
Two pieces from Andrew’s new cantata Songs of Hope and Creation were also performed in Exeter and the choir will be performing the complete work in Exeter Cathedral on 31st October 2009 (more details to follow). The first half of the Exeter concert also included a Christmas cantata, Das Neugeborne Kinderlein by Dietrich Buxtehude (1637-1707) and the popular Messe de Minuit by Marc-Antoine Charpentier (1634-1704) based on French folk tunes of the day.
The proceeds of the Exeter concert went towards supporting the St.Stephen’s Church Restoration Fund and the retiring collection at Buckfast Abbey was in support of the South-West Children’s Hospice.
A CHARITY CONCERT IN SUPPORT OF WATERAID
St David's Church, Exeter: Friday, 17th October 2008.
The first half of this concert was an all Mozart programme, beginning with the choir singing the famous setting of Ave Verum Corpus and the Missa Brevis K140. In between these two pieces a string quartet performed the Divertimento K138.
The second half contained just one work, Haydn’s St. Nicholas Mass, which was performed with sparkling rhythmic clarity aided by an accomplished group of four soloists from the choir.
A CONCERT OF POPULAR MOTETS
Buckfast Abbey: Saturday, 20th September 2008.
The concert opened with a sublime setting of the Ave Maria by Robert Parsons, an English Tudor composer, followed by Pablo Casals’ O Vos Omnes and Lotti’s Crucifixus. Fauré’s Pavane, played on the organ by Andrew Daldorph, contrasted well with three Bruckner motets and the wonderful Singet dem Herrn by Bach concluded the first half of the programme.
The second half was framed by two very different contemporary settings of O Magnum Mysterium, the first by the Californian, Morten Lauridson (b.1943) and the second by the Swiss composer Carl Rütti (b.1949). In between the choir sang three poignant pieces from Parry’s Songs of Farewell written just before he died in 1918, and Andrew played a Psalm Prelude by Herbert Howells. The choir also sang motets by Josef Rheinberger and William Harris to complete the programme.
LENTEN MUSIC FOR CHOIR AND BRASS
Crediton Parish Church: Saturday, 19th April 2008.
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Our programme focussed on the sacred seasons of Lent, Easter and Ascension. The music explored the many emotions of this time in the Church calendar including the fear of death (in Poulenc’s Lenten Motets), the ultimate acceptance of it (in Bach’s Komm Jesu, Komm) and wonder at Christ’s incarnation, sacrifice and ascension (in pieces by Gabrieli, Messiaen, Bruckner, Philips and Finzi) all within a framework of musical praise and infectious joy (from Gabrieli, Gibbons and Schütz)! The concert was enhanced by a brass sextet led by Brian Moore and as well as accompanying pieces by Gabrieli, Schutz and Finzi the sextet gave a splendid and exciting account of Leonard Salzedo’s punchy Brass Divertimento. |
Saturday 29th September, 2007.
MASS IN B MINOR J. S. BACH
with DEVON BAROQUE - Leader Margaret Faultless
SOLOISTS:
Rebecca Yates Soprano 1
Tina Guthrie Soprano 2
Frances Bourne Alto
Nicholas Yates Tenor
Thomas Guthrie Bass
A note from Andrew Daldorph - musical director of Exeter Chamber Choir
It is always a pleasure to be involved with a performance of the B Minor Mass. It is a work which provokes all kinds of emotions and can leave one refreshed but exhausted at the same time.
We were delighted to be joined by five wonderful soloists for this evening and to continue the choir’s collaboration with the stylistic playing of the Devon Baroque orchestra. Their leader, Maggie Faultless, gave a virtuoso performance of the violin obligato solo in the Laudamus te.
We aimed for a fresh and lively performance, highlighting the contrast of the jazzy rhythms, but still leaving time to reflect and indulge from time to time.
This concert provided a welcome return for the Choir to Exeter Cathedral following our successful Monteverdi Vespers project in February 2005 and we thank the Dean and Chapter for having had the opportunity to perform such a mighty work in this perfect setting.
Critical acclaim for this performance
What a delightful evening - the first half was excellent and the second was even better - the warmth of the audience’s response showed how much they had enjoyed the performance.
The Choir seemed a little tentative at first, but the Kyrie and the Gloria were excellent and the Domine Deus was delightful - one of the highlights of the concert.
All the soloists were very experienced and accomplished. Frances Bourne’s voice is exceptional.
Devon Baroque are a most professional orchestra, sympathetic to the choir and the soloists. The violin solo in the Laudamus Te performed by Margaret Faultless was wonderful.
Andrew Daldorph displayed excellent control of the choir, soloists and orchestra, with whom he showed great empathy - he must be delighted with the results of his efforts.
The choir really exploited the dance rhythms of Bach’s music. I have not experienced as vibrant a performance of the B Minor as this before, and can’t wait to hear it performed this way again. It was fantastic.
Exeter Chamber Choir sang with a light touch where the music required it yet were equally capable of a large sound if necessary. Their smaller forces provided a flexibility denied to larger choral societies.
The Exeter Chamber Choir's presentation of the Bach Mass in B Minor surpassed all our expectations. It was brilliant! Both the choir and the very talented soloists, all under the direction of Andrew Daldorph, gave the large audience an evening of pure delight - an evening to be remembered.
If I were to be asked for a criticism, I would only say that whereas the evening opened with a warm welcome to both choir and soloists, it was a pity that no-one thought to express the heartfelt thanks of the audience at the conclusion of the concert.