REVIEWS of CONCERTS 

"Ravishing beauty and rapt intensity" Wigton Choral Society,  under their new musical director, Ian Wright, presented a very enterprising programme comprising entirely of French music, culminating after the interval with Fauré's Requiem.

The choir, a very well-balanced ensemble with no weak sections, deserve special praise for their splendidly controlled singing, especially in the unaccompanied pieces by Fauré and Saint-Saëns, all sung in the  original French or Latin.

They have an easy, unforced, sound, and sing with  intensity and - nearly always - excellent intonation. They are obviously responding well to Ian Wright's quiet but authoritative direction. The pick of the first half pieces was, for me, Calme des Nuits by Saint-Saëns,  sung with ravishing beauty and rapt intensity. They were accompanied by an excellent string ensemble led by Sue Johnson and faultless organ playing by John Green.

There were also excellent contributions from soprano Fiona Weakley and baritone Edward Caswell, who sang solos and duets, as well as having important input in the Requiem. In this Fiona Weakley's rendering of the Pie Jesu was particularly beautifully sung.

Fiona Austen on the harp gave an expressive rendering of Debussy's Arabesque,more familiar as a piano solo, and was an important member of the ensemble, especially in the In Paradisum section of the Requiem.

Overall a fine evening of  music.                                                                       David Sutton

Freezing temperatures did nothing to deter friends and supporters of Wigton Choral Society from turning out in large numbers for their Christmas concert, a fining tribute to the dedication of the society’s outgoing musical director, Ian Hare, whose multiple talents as conductor, chamber musician and composer, were evident tat evening. The audience appreciated Ian’s personal introductions to the varied programme of 16^th – 21^st century music and enjoyed several opportunities to join in some traditional carols too.

Coping wit the different styles of Mendelssohn, Rubbra and Eccard in the same programme is no mean feat: the 50-strong choir’s attentiveness to their conductor’s clear direction was impressive, enabling them to take in their stride both the apparent simplicity of Elizabeth Poston’s carol Jesus Christ the App/c Tree, with alternating a cappella and accompanied verses, and Adrian Self s challenging 3-movement Song of the Virgin Mary. The choir’s shimmering harmonic clusters in Whitacre’s Lus aunimque, wit a fleeting but beautiful solo from soprano Stephanie Diver, had audience members quite hypnotised, until Bach’s exuberant Gloria from his B minor Mass shook them out of their trance!

John Robinson (organ) provided supportive accompaniment throughout the evening and some skilful, exciting solo playing of Bach.

Special guests the Millbeck Wind Ensemble were joined by Ian on piano for Saint-Saëns’ colourful Caprice on Danish and Russian Airs, where the rising mood served to display the full range of contrasting tones of flute, oboe, clarinet and piano.

The programme ended appropriately with Ian’s own choral composition Joy to the World and some more carols. We wish Ian every success in the years ahead and look forward to seeing Wigton Choral continue to flourish with their new musical director, Ian Wright.

ANNE-MARIE KERR

Wigton Choral Society are to be congratulated on presenting a delightful concert of Summer Music, on Saturday 16th June in the James Hall of Nelson Thomlinson School in Wigton.

The choir happily embraced several challenging works, including the complex eight-part textures of Parry's Blest pair of Sirens, and Vaughan Williams' atmospheric work Toward the Unknown Region, with its soaring melodies and complex harmonies. Cilla Grant rose to the challenge of providing, most sensitively, full "orchestral" accompaniments on the piano - before being joined by the choir's conductor, lan Hare, for a performance of Debussy's En Bateau, played with great delicacy, and an apt choice after our week of torrential rain! And their four-handed version of Walton's Façade set all our feet tapping.

Special highlights of the evening included performances by the NTS Big Band - comprising outstandingly talented youngsters from the school, directed by Nelson Thomlinson's Head of Music, Philip Thorpe – who cheerfully presided over the drum kit when the group's regular drummer broke his wrist half an hour before the concert. The young musicians, quite unfazed by the relocation of their conductor, delighted us all with

the precision and sense of fun of their music - Philip Thorpe improvising merrily around the drum kit before being joined by the gifted soloists, Philippa on trombone, Tristram on cornet and Caitlin on sax, in a hugely entertaining version of Berry's Louie, Louie.

We were delighted by the contributions from Sheila Stubbs and her double bass - with an endearing performance of The Elephant from Saint-Saens' Carnival of the Animals - and Stubby's Revenge, an enchanting swipe at Gilbert and Sullivan - who only ever gave the bass oom-pahs to play. . ..

Choir and audience all enjoyed John Rutter's three Birthday Madrigals: the jazzy settings of lt was a lover and his lass and When daisies pied admirably captured the lightness of touch of Shakespeare's texts - and his cuckoos "on every tree" were a perfect accompaniment to the balletic flight of the house martins outside the window, flitting across the meadows above the grazing cows - a beautiful setting for the hall, and a perfect backdrop to a summer concert.

The programme ended with a rousing performance of John Peel, composed by John Woodcock Graves of Wigton - an appropriate conclusion to a most enjoyable evening.

The carol 'Once in David's City', beautifully introduced by a few sopranos, established the perfect atmosphere for the society's Christmas concert, conducted by their musical director, Ian hare.

The main work, Britten's 'Ceremony of Carols' , here in the four-part arrangement for mixed voices, is a challenge for any choir, and Wigton approached it with obvious enjoyment. The entries were confident, diction clear, and the dynamic range brought colour and meaning to each section. Soprano soloist, Rachel Little's clear, rich voice is well suited to the music, and her long liquid notes in the charming 'Spring Carol' contrasted effectively with mezzo-soprano Anne-Marie Kerr's warm tones, which were also heard to good effect in her deeply moving solo 'That Yonge Child'. Particularly effective was 'In Freezing Winter Night', with fine voices in the consistently good tenor section, and ending with quiet, sensitive harmonies from the choir behind a gently falling solo line over two octaves. Fiona Austen (harp) was the accompanist in this piece, and a highlight was the evocative 'Interlude' for  solo harp.

The choir showed its versatility with a nicely balanced selection of familiar and unfamiliar carols. Choir members' individual talents were also heard: soprano Sue Allan sang a solo verse in 'Sweet Chiming Christmas Bells', in an arrangement traditionally sung in South Yorkshire pubs; while Margaret Ferriby moved from choir to piano to accompany Rutter's 'Star carol'.

Organist David Shingler provided an unobtrusive and supportive accompaniment to the carols,  as well as a delightful seasonal solo, Alfred Hollins's 'Christmas Cradle Song.'

A most enjoyable evening for the large and appreciative audience; a tribute to Ian Hare's dedication and fine direction.

Review published in 'The Cumberland News',  23 June 2006

The 250th anniversary of Mozart’s birth was worthily celebrated under the direction of Ian Hare. The four soloists — Karen Johnson, Sioned Ellis, Richard Ireland and John Molloy - added their own distinction to the event, as did Adrian Self at the organ. The Mozart Anniversary Orchestra (leader Marion Hillier) showed their’ quality in the very first item, Ave Verum Corpus perfectly matched by the chorus. Surprisingly no applause followed: instead, there was an awe-struck silence. No-one could, have failed to be moved by the beauty of the performance.

Later on there was certainly no doubt of the full house’s approval of the Requiem, which closed the concert. It received and deserved a thunderous ovation. Full marks to treasurers and sponsors for a full orchestra, even running to the luxury of three trombones. One of these made a telling impact in the requiem’s Tuba Minim section in a duet with base soloist, John Molloy. John used his full vocal resources to splendid operatic effect and the other soloists also made effective contributions as the music progressed.

No doubt inspired by the music, the conductor, and the occasion, the chorus were magnificent. Of course they loved Lacrymosa and Hostias, and it showed. But there were other most effective contrasts as in the incisive Dies Irae and the expressive opening Kyrie. Above all as the psalmist says there was truth in the inward parts — that clarity of texture without which contrapuntal music is so lifeless. Articulation and tuning were also most praiseworthy.

Before the interval it was a joy to hear Vesperae Solennes — a sort of evensong mixture of psalms and Magnificat. Perhaps some inherent problems of balance were evident from time to time. But Laudate (nice to hear in context) was as winning as ever with some expressive orchestra playing, especially from the bassoon. Here, as in the taxing Beatus Vir, soprano Karen Johnson’s musicianship was impeccable.

The whole presentation was well timed and stylish. This was altogether an evening to cherish for both audience and performers alike.                                                        Andrew Seivewright.

Christmas Concert, 2005

Review published in 'The Cumberland News',  6 January 2006

From the very first entry in Vivaldi's Gloria, we knew that we were in for an evening of exciting music. The orchestra, led by Sue Johnson, built up the anticipation with a light, pacey, introduction, thrillingly fulfilled by the choir's vigorous entry. Et in Terra Pax gave the choir a rare chance to show off its legato singing, while in Domine Fili Unigenite there were crisp rhythms. Soprano Anne-Marie Kerr and mezzo soprano Naomi Dodd were beautifully matched in their duet Laudamus Te, and the blend of soprano and oboe in Domine Deus and mezzo soprano, cello and organ in Agnus Dei was handled sensitively by all the soloists. In the final movement, Cum Sancto Spiritu, choir, orchestra, and a strong solo trumpet combined to bring the work to a triumphant close.

The strings then performed Mozart's Divertimento in D. A moment's uncertainty of tempo and intonation soon settled, and all three movements were played with great bravura, receiving a long and well-deserved ovation.

A highlight was Anne-Marie Kerr's Taladh Chriosda, a Scots Gaelic lullaby for the Christ child, with subtle harmonies on the organ. Tim Ravalde, currently organ scholar at Carlisle Cathedral accompanied throughout, as well as performing a suite of interpretations of the well-known In Dulce Jubilo by members of the Bach family.

But the evening belonged to Ian Hare and the choir.
                                                                                                        Mary Blood & Douglas Cooke

Summer Concert, 2005

Review published in 'The Cumberland News',  24 June 2005

Wigton Choral Society, under its conductor Ian Hare, assisted by Margaret Ferriby, presented a lively, varied and well-balanced programme to an appreciative audience.

Part One opened with a stirring account of Vaughan Williams’ Te Deum, followed by a group of English anthems, the second including a soprano solo admirably sung by Stephanie Diver.

Ian Hare then played, Stanford’s ‘Intermezzo on an Irish Air before returning to the podium to conduct three anthems by European composers, ably accompanied at the piano by Cilla Grant. The third, Brahms’ ‘How lovely are Thy Dwellings’, was quite sublime in places, the abbey accoustics enhancing some hauntingly beautiful part-singing which formed a fitting climax to the first half.

After the interval, Cilla Grant and Margaret Ferriby took their places at the piano to accompany, in duet form, the Brahms' ’Lieberslieder’ Waltzes, a set of eighteen short love-songs, which demonstrated the choir’s versatility in coping with changing moods and tempi. From Brahms we moved to Dvorak, Cilla Grant and Ian Hare performing, with precision and panache, two Slavonic Dances for piano duet, followed by Arthur Benjamin’s foot-tapping Jamaican Rumba, which specially delighted the audience.

The evening finished with three Spirituals arranged by Ken Burton. The choir produced some fine unaccompanied harmony-singing here, also a pure contralto solo from Val Palmer. The vibrant ‘Every Time I feel the Spirit’ formed an exciting conclusion to an unusual and very enjoyable concert.

Joy Watson.

Christmas Concert, 2004

Review published in 'The Cumberland News',  7 January 2005

The main work in this concert was John Rutter's Magnificat, and extended setting of Mary's song of peaise from St. Luke's gospel. This was followed by a blend of traditional and modern carols, and organ and vocal solos.

Organist Adrian Self, from Cartmel Priory, inspired performers and listeners alike with his imaginative playing, particularly in the Magnificat where his interpretation of the complex accompaniment made up for the absence of an orchestra.

The concert was also enhanced by the professional soprano soloist Nicola Howard, whose clear voice rang round the church in several movements of the Magnificat notably Et misericordia.

The wide range of moods of the Magnificat requires close attention to detail and the choir responded well to Ian Hare's direction. The tone was warm and well-balanced, though in some places not as quiet and gentle as the music required.

The carols included a recent composition by Ian Hare, Before the Paling of the Stars, which deserves to become well known. Traditional carols rounded off an enjoyable evening.

David Shingler.

Summer Concerts, June 2004

Review published in 'The Cumberland News',  9 July 2004

Wigton Choral Society chose an ambitious all-English programme for their summer concert [at St Mary’s Church Wigton on 22 June 2004] …… The evening began with Holst’s Hymn of Jesus. This majestic piece does not follow the style of English religious music and parts full of long, slow chords make a contrast to a lively but difficult extended five-four section. Conductor Ian Hare drew the best from his choir and the use of crescendo and diminuendo was especially notable. The jolly E Markham Lee arrangement of John Peel provided relaxation for audience and choir alike.

Kathryn Woodruff was the contralto soloist, pleasing the audience with two songs by Elgar and Greensleeves, as well as singing the solo sections of the main work of the night, Elgar’s The Music Makers. Her rich, strong voice and beautiful sense of timing and atmosphere were well-suited to these pieces.

The Music Makers is a 40-minute piece based on Arthur O’Shaughnessy’s Ode. It includes several tunes that feature in earlier works, most notably the Nimrod theme from the Enigma Variations. The choir was well-balances, the soloist excellent and the piece full of pleasing melodies and harmonies. I wish they had sung it all twice over.

Despite some problems with the organ, Hugh Davies accamponied sensitively throughout and his solo rendition of Nimrod was much appreciated.

Wendy Davies

Review published in 'The Keswick Reminder',  3 July 2004

Concert in Crosthwaite Church, 29 June 2004.

The quality of Arthur O’Shaughnessy’s Ode is uneven; but at least he has given us the phrase "movers and shakers", where the choir achieved a fine climax. It was the total ensemble that was praiseworthy in the succeeding Allegretto, "We in the ages lying": Hugh’s renowned agility at the keyboard was required, and not found wanting. The independent lines of the music showed off the choir’s competence in all sections.

The dramatic (and democratic!) passage "The soldier, the king, and the peasant are working together in one" was thrown off with a properly theatrical effect, contrasting well with the subsequent sustained passage.

The Music Makers calls for unremitting concentration, and the entry of the soloist id well-judged. Dorothy King, secure and versed in Elgarian style, sang most expressively in the Nimrod section – which pays tribute to the beloved friend A J Jaeger – soaring effortlessly above the choir in the heart-rending quotation from the second symphony.

It was a privilege to hear this mature work in live performance. The singers, too, must have found their understanding of Elgar’s music much enhanced. (They’re playing our tune!)

Apart from the Elgar, there was a rare and welcome chance to hear Holst’s Hymn of Jesus. Textwise this is obscure to say the least: "Apocryphal Acts of St John", translated from the Greek by Holst himself. There are also two plainsong Latin hymns – probably the nearest thing to the Psalms that would be sung in the time of Jesus Christ.

Oscillating triads evoke the sound world of The Planets; descending bass lines recall Personent Hodie; double choirs grind apart in Debussy-like chords, and there is a distant trio of solo voices – very well sung on this occasion. The imaginative words picture Jesus as the Lord of the Dance – in a Mars-like 5/4 time: Holst’s mind is truly set on fire by MR James’s new textual discovery.

And was it all perfectly done? Well, not quite. There were a few pitch problems, and now and then a loss of tonal unity: "never louder than lovely". But there was so much to admire and enjoy: conductor Ian Hare’s interpretations were convincingly authentic, and both singers and accompanist served him well.

Andrew Seivewright

Christmas Concert, 13th December 2003

Review published in 'The Cumberland News', 2nd January 2004

Reviewer - Lorna Reynolds

"Music meant joyful occasion for all

Wigton Choral Society, St Mary’s Church, Wigton

CHRISTMAS music should celebrate the joy and mystery of the occasion and the music at Wigton Choral Society’s concert on December 13 certainly did.

Under the accomplished direction of Ian Hare, the choir performed Haydn’s St Nicholas Mass as well as carols and other seasonal pieces. The St Nicholas Mass is not generally well known but is seasonal, very tuneful and often lively and the choir presented it to very good effect.

Unaccompanied carols can be the downfall even of experienced choirs, but In those performed here, even the complex Wexford Carol, ensemble and pitch were virtually faultless. Four young soloists, Elizabeth Watts, Louise Deans, David Revels and Douglas Nairne joined the choir for the Haydn; in this work the soloists sing mainly in quartet, so the audience were pleased to bear each of them later in the evening singing solo contribution of their own and giving us a better chance to appreciate their considerable talent. Perhaps the biggest round of applause of the evening, though, was reserved for an even younger trio, the Nelson Thomlinson Piano Trio of Sarah Mattinson, Joanna Mottershead and Tim Ravalde who played Frank Bridge’s as if they had been performing in public for years. Organist David Shingler accompanied with this usual competence and flair, and Ian Hare not only conducted the concert but also accompanied the soloists and one of the choral pieces on the piano.

A lovely concert to listen to and a most fitting prelude to Christmas, with the choral singing. All the performers superbly conveyed the joyousness of the season.

 

Summer Concert, 21st June 2003

Dvorak: Stabat Mater [Review published in 'The Cumberland News' - 4th July 2003]

Reviewer - Andrew Seivewright

"Full Marks for a truly glorious sound

In the glorious setting of St Mary's Church, Wigton Choral Society, conducted by Ian Hare, gave a fine performance of Dvorak's rarely heard Stabat Mater. No orchestra; but Hugh Davies made colourful and supportive use of the organ.

And there was an outstanding quartet of soloists - bass Hubert Matthews, by chance a former Carlisle Cathedral choral scholar; Nicola Howard, soprano; Jennifer Westwood, Mezzo; and Martin Hindmarsh, tenor. With the choir, they filled the church with glorious sound.

The 14th Century poem had personal resonance for Dvorak, who tragically lost his family in infancy. It was moving indeed to hear the chorus tenors' deeply expressive response to the opening words, "Stabat Mater". Was this a town choral society or a professional group of singers?

As the work proceeded the whole choir fairly blossomed in a well-nurtured performance. There were minimal flaws and so many high points.

Ian Hare's tempo was just right - always flowing, yet giving full scope for expressiveness. The choir evidently loved the Pray to the Virgin, and sang it beautifully.

Full marks to everyone, not least organist Hugh Davies who sustained concentration enabled the other performers to give of their best."

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