June 2019 Issue 61 Hemiola
St George’s Singers
S TEPHEN THRELFALL VICE PRESIDENT
INSIDE THIS ISSUE: The Choir committee were thrilled to hear that Stephen Threlfall, Stephen Threlfall 1 & 3 Director of Music at Chetham’s School of Music, had accepted their invitation to remain as one of the
Well Conducted Tour 2 Vice Presidents of St George’s Sing- Concert ers after retirement from his current Well Conducted Tour: A 4-5 role in September this year. Stephen group story gave an interview for Hemiola. Where did you start your role Well Conducted Tour in 6-9 Ghent, Bruges & Brussels as music educator and creative project manager?
Mahler’s Symphony No 8 10-11 photography Porter © Sara in E♭ Major I left the BBC [as sub-principal cellist] to go to Benenden whether to go or not, I was premiere. He said that it was Chetham’s at 50 12 school [as Director of Music] in very nervous. But, you know, ‘the most difficult thing I ever Terezin & Brundibár 13 1991, attracted by the Youth I had a sense of my dad tap- tried to play…technically orchestra and Music society. ping me on the shoulder and challenging for 17-year old Bach B Minor Mass - 14-15 telling me to just get on with One key memory is 8:30am me!’ How do you start the Looking back it. I started apprehensive but hymn practice on Tuesday process of leading a youth could see straight away how I Manchester Sings 16 mornings, 400 girls yawning, orchestra through such a new wanted the department to and wondering what on earth I and challenging work? was going to do. I found my flourish. ST GEORGE’S SINGERS This particular work was a way by adopting the policy of The first real companion piece commis- PRESIDENT: broadening their project I under- ‘My first professional work was sioned up in Scotland. Initially, Marcus Farnsworth MA ARAM experience; Queen took was Antarc- with Tommy Steele on the Hans I expressed an interest in the was very useful! Christian Anderson show. tica. One of the VICE PRESIDENTS: premiere, but it was already Thankfully the key aims was to Sasha Johnson Manning spoken for. However, a few Head in post at the Great fun!’ involve the Stephen Threlfall months later, I was approached Stephen Williams time told me that whole school. Susan Roper again – apparently no-one was he wanted music to Visiting the place is on my happen throughout the school, touching it because it was too MUSICAL DIRECTOR: bucket list, although my wife hard! The first thing I needed not to be an isolated activity. I is not overly impressed with Neil Taylor to do was to play every single ran the youth orchestra and had the idea. I went down to see ASSISTANT MUSICAL DIRECTOR: note of it; I made sure that I regular concerts. In my last the British Antarctic Survey knew the score inside out. And Robert Brooks year, we had a Benenden festi- which was stunning. As a then Max[well-Davies] came val weekend which included a result of the project, some of ACCOMPANIST: here to look through the music visit from Jeff Wynne-Davis the school produced drama, Peter Durrant with me, to confirm that my and his choir Canzonetta. others art and also creative understanding of each chord writing. Another significant When this job came up in 1995, was correct. And change it Registered Charity no 508686 ‘project’, was undertaking the although I was happy down at when he considered I was premiere of the work High on Member of Making Music, the National Benenden, I thought I should right! Actually, I am very Federation of Music Societies the slopes of Terror, by Peter try it out. I can remember being proud of the fact that Boosey & Maxwell-Davies. www.st-georges-singers.org.uk very casual at the first inter- Hawkes, in their acknowledge- view; I didn’t expect to get Our president, Marcus Farns- ment on the front page, thank through. Then when I was worth, took part in this me for my contribution. called back, I didn’t know Page 3 Page 2 Hemiola
Saturday 8 June 2019 St George’s Church, London W ELL-CONDUCTED T OUR C ONCERT PREVIEW Road, Poynton 7:30pm Notre Dame is of Having been split into a num- Andrea Millington ber of groups, three of them The Well Conducted Tour singing an exquisite happened to come together in Neil Taylor and pure soprano this extraordinary place. We solo from Britten’s were all slightly awe-struck, but Conductor
Te Deum, which was then one of our number sug- Pete Durrant applauded by tourists gested that we sing Bruckner’s Organ / Accompanist who sat down to Locus Iste. Someone pitched a Eszertergom Basilica in Hungary listen. This audience note, and, as we had sung the © Wikipedia included an enrap- piece many times, we did not St George’s Singers generally tured Japanese tourist who need music. We gathered into a tour every year, alternating endeared himself to all of us round, about 25 of us, under- Tickets: travel to the UK and mainland when he applauded vociferous- neath the central chandelier. £12.00, £10 Concessions, Europe. ly and then hugged an aston- We performed well, focused on £5 students / children, group ished Neil Taylor. each other, and at the end of Our tours are voluntary but discounts the rendition were all clearly usually well over half the And sometimes there have been moved at this intense moment. Tel : 01663 764012 Choir participate. This give us the spontaneous moments, the opportunity to get to know when enough of us have been Used for the annual celebration other members of the Choir gathered in one place to pull of a church’s dedication, the socially, often crossing the together a rendition of a piece first words - ‘Locus iste a Deo great divide between vocal we know well. factus est’ - translate to ‘This sections so rarely bridged in place was made by God’. This our busy rehearsals. may not be a chirpy ‘off the cuff’ number, nor Another reason for have a chorus for others heading on tour with to join. But this piece, St George’s Singers is and the recognition of to have the opportuni- the importance of place, ty to sing glorious and has become a central exciting music in part of our tours.
splendid, world- famous venues as well On a less cerebral level, as some unusual recit- we also have a lot of al areas. fun. There are many © © Wikipedia Tales from the Tours that Over the years we Chapel of St Kinga, Wieliczka Salt Mine are deemed suitable for have built up a reper- a wider audience - for a toire of music that fits well When visiting Krakow, some of full account of our tour to into a touring programme but us went to visit the Wieliczka Bruges, see pages 4-9. also includes some delights not salt mine. Part of the mine in- often heard by our local audi- cludes a vast underground cave, As part of our June concert, a ences. Neil Taylor and the the Chapel of St Kinga. few Choir members will reveal committee decided that, after some of these memories from 20 years of the Choir touring, This chapel is over 100 metres past tours, incorporating the it was time to pull together underground and still hosts shared laughter, joy, elation some of these memorable piec- concerts and services. Over the and nervous exhaustion that es, as well as adding a few years, stonemasons and artists makes up a Choir tour. more delectations that will be have created carvings in the sung when we are on tour in rock salt walls, including the Bruges, Ghent and Brussels. stations of the cross. Our concert in June will in- clude a wide range of liturgical music that has been performed in chapels, churches and cathe- drals across the UK, Europe and Costa Rica. We have often participated in a service of mass. We have had the opportunity to sing appropriate secular music in such monuments as the recently fire-hit Notre Dame and the magnificent Eszertergom Basilica in Hun- gary. A personal memory from The Choir pausing outside Notre Dame (2013) Issue 61 Page 3
S TEPHEN T HRELFALL, CITY F AN
Page 1 Stephen Threlfall, commenting on From the initial distain that I this photo picked up from the kids, they gradually accepted that When I was a nipper, I used to live this was a piece to be con- very close to where that was taken. quered. It was called Mill Street, in the How do I engage? Well, you Manchester Bradford area, where need to split the orchestra, Mum and Dad lived. I think Dave structure the rehearsal. Know- went to Mill Street school. ing your score well is key for engagement. It is also your And not far away is the Etihad duty. If you make one instru- Stadium. mentalist sit through hours of rehearsal without playing a
note, that’s unforgivable. photography Porter © Sara Can you tell us a little about Ever whimsical, our Vice President poses in Mancunian drizzle. your early childhood, and in- was Margaret Campbell-Smith, What’s the best aspect about fluences that drew you into the other Mavis Bevan. They the next thing that you plan to music? were the ones that lit the spark - do both with and without Dad was a builder, Mum was a I hold them totally responsible Chetham’s? secretary. They were always for lighting the fire, introducing Having a bit more width in the puzzled as to where one jessie me to Kodaly two-part singing. musical world is one of the actor and one jessie musician Group ‘cello lessons were 20 reasons I made the decision to came from. Our kid [the actor minutes a week – worse than stop. Also, the freedom to de- David Threlfall] remembers useless – but it meant that I got velop and explore, without when I heard something at pri- my hands and fingers on one. quite knowing where that jour- mary school – The Lord is my Over a succession of years, I ney will take you, when excite- Shepherd, in two parts – and it had six or seven teachers. ment takes over from apprehen- stuck with me. I played ‘cello a When I was about 17, I finally sion. Or without doing it on top tiny bit at primary school. I had private lessons. Then Vic- of all the other things that this have a memory of being outside tor Fox came in and the Man- role entails. playing football and someone chester Music Service [now was sent out to get me saying, GM Music Hub] and suddenly But this decision also gives an “’Cello teacher wants to know opportunities were given to me opportunity to Chetham’s for if you’re going to play cello or and many others; I started to some freshness, to let them football?”. There was no con- play music by Tchaikovsky! I have the same chance to devel- test. I kept on playing football. think my life’s work has been to op that I had when I first came here. At secondary school there were continue giving those opportu- two particular teachers. One nities where they don’t exist.
STEPHEN THRELFALL ON CONDUCTING
The Choir know Stephen Threlfall for ‘keeping it real’, my own playing experience, I’ve seen it work and for a quirky sense of humour. In interview, he was not work. From someone who might be screaming asked how he approached conducting youth, profes- at you to no effect, and then to someone like sional and amateur musicians and singers. George Solti, who looks as if he’s screaming at you Often it is a matter of signs from the [youth/ but actually it feels as if he is saying , “This is what Stephen Threlfall and brother David recently joined forces with amateur] orchestra, knowing when you’ve we’ve worked on, and what I want you to deliver”. Neil Brand and the GM Music Hub reached a limit with them or you have just I conducted a concert in Europe a few years ago. A Orchestra for a production of the reached their limit. If they have reached a limit great choir, but the orchestra were a complete mix- Wind in the Willows at the Stoller technically, then it is about considering what else ture. There was a ‘learned’ delay from some of Hall. you can do to make them sound better. In our them, the concluding chord in rehearsal and per- project for Wind in the Willows, with the Greater formance was played at fractionally different time. Manchester Music Hub, I was able to find ways I was glad I did the piece, but I ended up having to of just slightly changing the sound even if the rehearse them like a youth orchestra. And it did pitch was marginally out of tune. improve, but during the performance it was as if A conductor’s personality and what they are one side of the orchestra was pushing the other, trying to do with the music is paramount. From like squabbling kids. Page 4 Hemiola
FLEMISH BEEF STEW HE ELL ONDUCTED OUR T W -C T In the UK, there are a number of connotations of the word ‘stew’ . F IVE HAVE A J OLLY G OOD TIME IN BRUGES It can give rise to images of lonely vegetables and a hunk of meat Alison’s encounter cream and a stop in a quayside casually floating in a warm lake of with Belgium’s finest café for coffee before catching oily water; uninspiring school Steak frites nearly the coach back to Bruges. Re- resulted in us becom- markably everyone was on time dinners and the like. ing Four on Tour. with no last-minute panics, The restaurant staff having been told by Rhona and But in Flanders there is a whole will not forget her in a Jo a number of times the coach different take on both the name hurry, narrowly would leave without them if and the taste. At our tour dinner in avoiding a serious they were not at the appointed the Sint Joris restaurant, we asked Heimlich manoeuvre. place by 9.00pm. for the secret of the thick, sweet AMICA - in the wrong order ... Saturday 25 May Sunday 26 May was probably and savoury sauce. dawned fine and, the highlight of the tour for Before heading off on Tour, a after a good rehearsal and most of the choir, with our par- group of friends was asked to keep much discussion about the best ticipation at Mass in the Amongst other mouthwatering route to the coach park, we Church of the Holy Blood at ingredients is the final addition a a record of their escapades and adventures. Thanks go to departed for Ghent and our first the start of their annual festival. slice of bread, spread with Caroline Elves for scribing these concert in St Michielskerk. We Everyone was warm and wel- mustard, placed on the top and adventures. had decided a boat trip post- coming, and we had a very allowed to thicken the sauce. concert was the best way to get receptive audience, exuberant Andrea Millington, Mary a feel for the city and, knowing in their applause. An inspira- Murfin, Irene Gibbons, Caro- the tours finished at 5.00, we tional choice of music from line Elves and Alison Gunn quickly headed to the quay to Neil found us singing the Halle- share a love of sing- lujah Chorus and Za- ing and a friendship, dok the Priest, along- which started in St side the beautiful George’s Singers and Locus Iste and Bo- has been enriched goróditse Djévo through many and varied tours. We It was here that Ali- form AMICA, an son and Caroline met appropriate initial- a couple from lettered acronym for Knutsford; they had our amicable senti- been overjoyed to ments when we get hear ‘a wonderful together. Our com- choir’ from home. bined membership of They also turned up to listen to our open- St George’s Singers View of Burg Square from the Bell Tower in Bruges totals 121 years and, air recital we gave having experienced the highs find most of the rest of the choir later in the day in and the lows of previous tours, behind us. Alison, in conversa- Burg Square. And then they we agree that this year was tion with a fellow passenger, also came along to our concert both musically and socially explained we were a choir on in Brussels Cathedral on Mon- one of the best. tour, a fact picked up by the day. They were still heaping tour guide. Once he had estab- praise as we retrieved our left Our tour aims are to enjoy the lished that we made up most of luggage at Brussels station, music, partake of good food the passengers, he stopped the promising to visit our website and drink and to pack in as boat under a low bridge and and attend the next concert in much sightseeing as possible. requested a song, saying that it Poynton. On evening one in Bruges, we was reputed to be the best On Sunday afternoon we took met a group of friendly Ger- acoustics. We obliged with a the opportunity to undertake mans happy to share the rasp- lusty rendition of ‘Now is the Page 5 berry sweets they were eating. Month of Maying’, They told us, ‘They’re a little informally directed by sour, like Tangfastics’. They Neil who happened to were definitely more ‘tang’ be on the boat as well. than ‘fastic’, as our faces show Sightseeing is hungry in the photograph (above) that and thirsty work, so they took. we rewarded ourselves After a pleasant wander with more food and through the city, we found a drink in the town square followed by ice “Your room is in here, Maestro” friendly place to eat where Preparing for sightseeing - Part One Issue 61 Page 5
FIVE HAVE A J OLLY G OOD TIME IN BRUGGE (CONT)
Page 4 some of our tour These tour traditions ‘must dos’. Caroline and Alison were instigated by the climbed the 366 steps of the late Martine Jackson, Bruges Belfort, (Bell Tower) to whose zest for life experience the fantastic views originally drew us over the historic city, not least together and we that of the rooftop of the Church raised a cup to her in of the Holy Blood and the Burg friendship (although Square where we were to sing she would probably later that afternoon. prefer red wine!). In a less vigorous manner, our Another boat trip and Preparing for sightseeing - Part Two AMICA group found a quiet tea more sightseeing shop to enjoy tea and cakes. helped to work off the peaceful space of Brussels Ca- accumulating thedral. An oasis of calm after calories. the noise and bustle of Brussels That evening the Midi and the city, but not be- choir dinner gave fore we enjoyed another meal All of the SGS team were asked in a pavement café and more us all the oppor- to spread the word about our tunity to mix to- Belgian beer. free concerts, handing out flyers gether, discuss the Once again, we sang to a events of the week- to unsuspecting tourists. Our large, warm and appreciative audience numbers certainly end and celebrate audience before our trip home. the success, not Such homeward bound jour- reflected a committed approach least to express our neys can prove to have a sense to this canvassing and it meatn thanks to Jo Bluck of anti-climax, but was instead we spoke to both locals and and Rhona Ford filled with good memories of tourists alike. for their sterling lovely places and strengthened work in organising friendship. such an enjoyable few days. With 366 steps and 47 bells, the Bruges Belfort (Belfry and Our final concert Carillon) is one of the most important towers in the city. was in the huge,
T RAINS, PLANES, BUSES AND BOATS
country. We did, but with approximately 9 minutes to spare (we laugh at those who need 10) before the gate was closed. In fact it was closed just behind the tour leaders, as they dragged suit- cases and themselves along at high speed. Our return from Bruges to Brussels proved to be Chinese curse style interesting. Initially, getting all the team from our hotel to Bruges station was a tad stressful, having a few unaccounted for Waiting at Bruges for our high speed train to Brussels. until the last few minutes. But Brussels Midi second time around was a No tour journeys go unscathed; there are al- whole different adventure. It involved just shy of ways mishaps and adventures as we travel. 70 people indulging in The Mysteries of the Left Our Belgium tour started with the excitement of Luggage Lockers and How To Open them. Looking a Eurostar ticket left in Manchester. Following back it was very funny, to see normally mild ‘I’m supremely confident that I multiple phone calls from trains and cafes, con- mannered, unflappable individuals reduced to really do not know the way. But I being incandescent with rage and issuing multi- tact with Eurostar and our agent, we resolved have a First Aid Kit, a notepad, pen the outward journey for an essential member of ple expletives as they battled to get lockers opened, ram in suitcases, find enough change, and an authoritative look on my our team. We left not knowing about the return, face, so nothing can go wrong.’ hoping that they had their passport in order and print out receipts etc. a good level of French. But it lacked all amusement at the time. Arrival in St Pancras should have been smooth, but we had a lost bass to find before leaving the Page 6 Hemiola
T HE W ELL-CONDUCTED TOUR G HENT
Others headed to specific sights and personal ‘must do’ activi- ties. It seems that a large pro- portion ended up in a boat to- gether, as reported by AMICA. (see page 4). Activities also included the temporary acquisition of a young Portuguese waiter who turned out to be a very enthusi- astic fan of our choir sound.
The gothic features of Sint Michielskirk (St Michael’s church) tower over the view of St Michielsplein (St Michael’s Bridge) that crosses the River Lys.
Our day trip to Ghent turned tioned unsuspecting tourists out to be the almost perfect and locals. Our performance mixture of singing and sight- was very well received. A great seeing. start to the singing adventure. After a couple of hours re- We had the additional luxury of hearsal in Bruges, we travelled chairs provided by a welcoming by coach to this medieval city, and friendly team in the church. which, in the last 20 years, has This may seem to be a trivial reinvented itself, embracing a thing to note. However, as the ‘café lifestyle’ and a vivid art Choir is so used to having to scene. rely solely on much leg bending “Is that Neil leaving in another boat? when rehearsing during a tour, Ah, well, at least most of you are still Our rehearsal and concert these chairs were a blessing. watching him.” took place in Sint Michielskirk (St Michael’s Church), an Following the concert, prior to Well, that’s what I was told by imposing gothic-style build- being released to make merry, the number of sopranos who ing. The site itself goes back as the Choir was threatened acquired him (including visiting far as the late 11th or early (again) with abandonment in Yorkshire Lasses and a tour 12th century. case of failure to be back at the organiser). Modesty prevents an coach pick up point by 9.00pm. What the church lacks in extensive review but there was spires it makes up for in sculp- a lot of giggling taking place on tures, art work and a stunning the return journey. pulpit, which seems to be a Amongst the more cultural feature of so many places of ‘must do’ activities was a visit worship in Belgium and Flan- by altos Bridget Dunbar and ders. Ursula Birkett to see the famous Despite our early morning Ghent Alterpiece in the magnifi- practice, we all benefitted cent Saint Bavo (Sint-Baafs) from the rehearsal in the Four sopranos and a Portuguese waiter Cathedral. You can read more church, adjusting to the acous- and singing fan. on page 7. tic and our sight lines to Neil. Old acquaintance ne’er forgot There were a few issues with Tour Photographs sticky organ stops that few of Well motivated by this time
SGS soprano Jacqui Burfitt made the choir knew about, but alto constraint, the team went their Many thanks to those who have the most of touring to Ghent. Here Wendy Flavell achieved a way quickly; sightseeing, shop- contributed photographs for this edition. she is with her Belgian friend lifetime’s ambition pulling out ping and quaffing as appropri- ate. I was impressed with how Alison Gunn Maria and daughter Valerie. the stops during Pete’s solo performance in the concert. much activity they managed to Andrea Millington Dedicated skiing partners in a fit in to this free time. With the Chris Hill Our concert had a good sized weather becoming sunny and a Jean Egerton past life, they met up for the first audience considering the in- pleasant Spring temperature, Judy Tomlinson time since 1995. We are viting sunshine outside, possi- some of us enjoyed simply Paul Burfitt bly due to advanced advertis- delighted that both Maria and strolling the streets and river Rhona Ford ing by our agent and also our Valerie came to our concert. banks, taking in the atmosphere Sarah Lionheart canvassing of previously men- of a Saturday in the city. Issue 61 Page 7
T HE W ELL-CONDUCTED TOUR G HENT
FOUND IN TRANSLATION - A LOVE OF SINGING Overheard from two basses at an ATM, very shortly before they were sity conference was a he would enjoy it.’ due to be at St Michael’s church. professional translator living in Amsterdam. I Not only did our new-found “C’mon, we’ve got to be there 15 knew that English- friend, Frans, complete the minutes before the rehearsal Flemish was not in translation gratis in three days, starts.” but he decided to come to our Alison’s portfolio but “I didn’t hear that.” she offered to look for concert, booking an overnight a colleague who was in Ghent with his wife to make “Well, I did and I wasn’t even willing to undertake this possible. So, we were able listening.” the job without charg- to thank him personally and ing the 100-Euro pro- present a gift. Some things can’t fessional fee. Two be done online. days later: Rosemary Broadbent Frans, our programme translator, and his wife, receiving a thank-you gift from Rosemary Broadbent. ‘I’ve drawn a blank – they are all Amongst the pre-tour e-mails too busy. But I arriving regularly from Jo came could load it onto a an unexpected appeal: translators’ forum online. Let’s throw ‘You said you had relatives it out there and see living in Brussels. Do you know what happens.’ anyone who could translate our programmes into Flemish?’ Within an hour she was back in con- That seemed unlikely – Ruth tact. works in international aid and What do you get for someone as a a ‘token’ Mancunian gift? has better Swahili than Flemish ‘Someone has vol- 1. An inscribed wooden coaster shaped into a worker bee, 2. Four ‘Real Lancashire’ Eccles Cakes and an - but a friend made at a univer- unteered. He sings in a choir and says accompanying description as to why they are relevant.
ADORATION OF THE MYSTIC L AMB Our Four Tenors
Mark Warrington, Paul Mummery, The painting, also known as the Ghent Dave Shield and Rhiannon Becque Altarpiece, was completed in 1432, by the were worthy group winners of the brothers Hubert and Jan Van Eyck, and is Singing and Serendipity award one of the wonders of world art, to whose presented at our tour dinner. doorstep this SGS tour brought us. We never thought we would see it, and now They received their own personal we have; just this alone has justified going marzipan Smurf for showing on tour. outstanding resilience and The painting has a dramatic history of cheerfulness in the face of being near disasters, including threats by fire, by outnumbered by other sections rioting Protestants during the Refor- many times over. mation, many times by theft actual or Their singing was wonderful; threatened – top of the Nazis’ wish list – confident, blended and beautiful. dismembered and hidden, and still miss- Thank you. ing one panel stolen for ransom. Angelic choir from the Ghent Altarpiece The many panels that make up the whole include portraits of the donors, totally individual; an Annunciation with beautiful and Here are also the angelic choristers, whose expres- very Renaissance idealised Gabriel & Mary; an sions could surely be neatly matched to comments imposing God the Father; various prophets, and from our revered Musical Director: an SGS com- a luminously wonderful picture of Ghent – and petition in the offing? that’s just the outside. Inside are thousands of figures of saints, popes, judges, knights, peasant- Bridget Dunbar & Ursula Birkett ry, angelic hosts etc, adoring the Mystic Lamb, with detail to last a lifetime of close inspection. Page 8 Hemiola
T HE W ELL-CONDUCTED TOUR B RUGES
Alan Swain, who was in the congregation, reported that a lady in front of him was “vigorously” startled as we burst forth with the opening proclamation of the piece. Following the service, it was back to the business of finding food before resuming sightseeing and other activities, while bringing ourselves back down to earth from a singing high. Later, as the glorious spring weather started to cool and the wind increase, we gathered under the trees in Burg square for our recital. We were provided with After the Mass, the clergy of the basilica offered to take photos of the Choir. chairs, but, following a suggestion from Our beaming smiles reflect the exuberance we felt following our rendition of Zadok the Priest. one of our visiting Yorkshire Lasses, we used the chairs to create seating for an audience, to encourage them to listen Sunday 26 May was a day spent in Bruges, and and stay. And that is exactly what they did. They a profound ‘performance’ for the Choir. We all sat, and listened and applauded and smiled. knew we would be singing as part of the mass Wonderful. in the Basilica of the Holy Blood (Heilig- Not that it went Bloedbasiliek) without a few little hiccups in However, it was the form of Tricky to see in this photograph, when we saw the tower bells but right at the top is a note to say large poster on the ringing on the ‘The Saint George’s Singers’ will wall outside the quarter hour, be participating in Mass. basilica that airplanes realization dawned; overhead and a It may only be grammar related, our singing would film crew taking but we like the sense of start the festival. footage of those exclusivity. involved in the As we started to Beneath the trees in Burg Square, the Choir sang from the faintly ridiculous European rehearse, slightly (Teddy Bear’s Picnic) to the sublime (Laudibus in Sanctus). election. bleary from Ghentian excess, we began to understand just The rest of the afternoon was spent with further how special this participation would be. free time, including visiting art studios and museums. This was a full service of Mass, spoken in Flemish, but with readings and a generous The Choir has a tradition of a tour dinner, where welcome delivered in English. Listening to the we all sit together for at least one night to reflect spoken Flemish, many of the Choir were able on what had gone before and what might happen to hear the similarity of sound to English words in the next 24 hours. This time we met at the used in the Creed and other parts of the service. appropriately named St Joris restaurant on the Markt Square in Bruges. Joris is the Dutch / Our recessional piece, Zadok the Priest, was an Flemish name for George, so we felt very much at extraordinary experience for both the Choir and home. Our dinner included the traditional beef congregation. As part of the service, the stew of the Flemish country. Goodness, it was worshippers process to an elevated side altar, delicious! where the phial of Holy Blood is on view. Following food and Zadok the Priest wine came speeches. Then the ‘thank- The music prepares a surprise in yous’. And then the its orchestral introduction dreaded ‘Award through the use of static layering Ceremony’. of soft string textures followed by Well, less said, soon a sudden rousing forte tutti forgotten, as my entrance. grandmother used to say! (Wikipedia) George (Call me Joris) the Elk Tour Leaders Rhona Ford & Jo Bluck relax at the It’s a tough life being a mascot. end of the tour dinner on Saturday night. Issue 61 Page 9
T HE W ELL-CONDUCTED TOUR B RUSSELS
Monday 27 May, our final day, thusiastic about Amongst our large and travel with luggage to Brus- our performance. audience were both sels for our last concert. Previ- Communicating locals and tourists ous mention has been made of via Mark War- alike. The aunt of the slightly stressful luggage rington, we were 2nd soprano, Philip- debacle at Brussels Midi, but encouraged to pa Greaves intro- after negotiating the tram and use the space duced herself and train network, we found our between the up- gave me felicitations way to the Cathedral of St Mi- per and lower and chocolates to chael and St Gudula. altars, as the Mark Warrington acting as hand on when back acoustics were French Liaison Officer in in the UK. meant to be at Brussels Cathedral. their best from And that was where this point. And indeed it was we were now head- extraordinary; during rehearsal, ed. In a flurry of exhilaration and Neil occasionally stopped us, to excitement and packing up, we The pulpit in the Cathedral of St listen to the delay resonating exchanged hasty farewells to those travelling separately, bus- Michael and St Gudula, carved throughout the cathedral’s vast out of wood from 1699. and vaulted ceiling. tled our way respectfully down the mighty building’s aisles and Brussels Cathedral’s most fa- started homeward. mous organ is the Grenzing organ, perched high up in the A vibrant and passionate final middle of the nave. performance for a tour worthy of St George’s Singers. Pete Durrant, acquainted him- self with the choir organ, more modest but still very different Pete playing the choir organ, lesser from the Sticky cousin to the Grenzing Great Organ. Stops of Ghent Praise from the Crypt This magnificent and imposing scenario. Chris Hill, husband of soprano building is one of the most im- It was interest- portant landmarks in Brussels. It ing to perform Emma, was exploring Brussels sits high at the top of white to an audience Cathedral, taking photos as he steps, towering over Brussels. that we could toured. When he went into the Inside a breathtaking solid not see, and crypt, he was met and spoke to a wooden pulpit and a ‘swallow’s whose delayed woman there. nest’ organ blend art and func- applause was tion due to time lag “You’re lucky to be here today,” Although the supporting staff at rather than any she said, “there’s an English lack of appreci- the cathedral spoke no English, choir singing and they’re very ation. The sounds of the final concert reverberate through the cathedral. they were kind, helpful and en- What a wonderful musical ending. good.”
ST GEORGE’S SINGERS’ NEWS
T HE BOY IS BACK IN TOWN
Not content with being Founder and Artistic the School’s choirs, and the development of the Director of both the Southwell Music Festival programme for first study singers, alongside a and Manchester Vocal Festival, becoming a fa- team of vocal teachers. ther and performing at a significant number of musical events, the Choir’s President Marcus A former pupil of Chetham’s, Marcus has re- Farnsworth has now been appointed to a newly tained a strong commitment to singing education. He will be part of the school’s music department established role as Head of Vocal and Choral led by Tom Redmond, who also joins the school department in Chetham’s School of Music. in September as Director of Music. In a change to policy, the school are now inviting We send our best wishes to Marcus for this new young singers from Year 9 [13-14 year olds] to venture and hopes for the further development of join the school, when previously they were asked St George’s Singers’ close ties with Chethams! to wait until 6th form. Starting this September, the new role will encompass both leadership of May 2019 Page 10 Hemiola
Friday 5 July 2019 Bridgewater Hall M AHLER SYMPHONY NO. 8 IN E♭ MAJOR 7:30pm
MAHLER’S TOTAL Chetham’s Symphony Orchestra ECLIPSE OF THE HEART With special guests Chetham’s Chorus Tom Service, BBC Three Ra- dio presenter and music writer Leeds Festival Chorus for The Guardian, wrote this St George’s Singers article to mark the centenary Greater Manchester Hub Youth of the symphony’s premier at Choir the opening concert for the Manchester Cathedral Choristers Proms 2010. Hereford Cathedral School There are so many musicians Children’s School on stage, you can hardly see the Stephen Threlfall conductor in the photo. But Conductor right in the middle of the mass Soloists include: of players and singers – 1,030 of them to be precise, one of the Performers in the production of the Symphony no 8 in the Academy of Music, 2 March Ailish Tynan largest collections of humanity 1916, conducted by Leopold Stokowski. Soprano ever assembled in the service of In 1914, the conductor and his wife, Olga, had a harrowing escape from Berlin, follow- Gweneth Ann Rand a symphony – stands the 50- ing the triggering of World War One. He took with him some gold and the score for Mah- Soprano year-old composer and conduc- ler’s symphony. Finally granted US citizenship, he convinced the Philadelphia Orchestra Board to pledge $17,000 toward the US premiere of the piece. Margaret McDonald tor Gustav Mahler. He is re- hearsing his Eighth Symphony Soprano for its world premiere in Mu- Mark le Brocq nich in September 1910, the off-stage brass ensemble, an sion of spiritual unease at the Tenor performance that will be the organ, harmonium and piano, start of the second. And then as many harps as the orchestra there's the unforgettable setting James Platt single greatest public triumph of can afford, an arsenal of percus- of Goethe's final stanzas at the Bass his life, and the last time he hears a new symphony of his in sion, and an orchestra that end of the symphony, an evoca-
the flesh. Just eight months looks like the ensemble for Bee- tion of the Eternal Feminine later, Mahler will be dead from thoven's Ninth Symphony on that Mahler dramatises with a chronic heart condition, but steroids, with dozens of brass music of cosmic breadth and and woodwind and a string power. Those final few minutes he will treasure the memory of section that should be as large are the symphonic equivalent of these Munich performances as one of the crowning moments as possible. Philosopher The- Douglas Adams's Total Per- Tickets: of his career. odor Adorno disparagingly spective Vortex in the Hitchhik- £20.50—£11.50 called the piece a "symphonic ers's Guide to the Galaxy: mu- Concessions available The Eighth was dubbed by the monsterpiece"; in terms of scale sic in which you realise just impresario who publicised the at least, he was on to some- how tiny you are next to the all- The Bridgewater Hall premiere as the "Symphony of a thing. encompassing universe of Mah- Online or Thousand", a moniker Mahler ler's musical creation. Tel : 0161 907 9000 hated. But the symphony needs And yet the essential message a vast musical congregation to of this enormous, 80-minute Page 11 realise its gigantic philosophical symphony is as intimate as it vision. […] is universal. The piece is a paean to the spiritual, mysti- Composed in a blaze of inspira- cal and earthly power of tion in the summer of 1906, love. Mahler sets a ninth- Mahler described the piece as century Latin hymn in the "the whole universe beginning 20-minute first part, and the to ring and resound. [The sing- concluding scene of Goethe's ers] are no longer human voic- Faust in the hour-long part es, but planets and two, the salvation of Faust's suns revolving." soul by the Eternal Femi- nine. Outwardly, the Eighth The line-up Mahler is Mahler's most positive, requires to create his life-affirming work, and it new musical uni- contains some of the most verse is on a scale thrilling noises you'll ever that no composer hear. It opens with a thun- had ever dared to derbolt in E flat major and a dream: there are choral call to arms, and only two huge choirs of increases in intensity
Wikipedia adult voices, a chil- through the overpowering dren's chorus, seven Mahler’s composing hut at Maiernigg, where the climax of the end of the first Eighth Symphony was composed in summer 1906 vocal soloists, an Poster for the premiere of Symphony no 8
part and the contrasting vi- Issue 61 Page 11
M AHLER SYMPHONY NO. 8 IN E♭ MAJOR
few weeks after he had con- Instrumental forces fronted his inner demons of Woodwinds jealousy and betrayal, Mah- 2 piccolos (1st doubling 5th flute) ler had to conduct the 4 flutes premiere of the Eighth; his hymn to love was to be 4 oboes Ticket for the premiere of Symphony No. 8 premiered by a man whose cor anglais Page 10 Yet the story faith in the central relation- 3 B♭ clarinets behind this defiantly optimistic ship of his life had been E♭ clarinet symphony's premiere is one of shattered. bass clarinet the most pain-racked and pa- 4 bassoons Whatever Mahler's experi- thetic in Mahler's personal life. ence as one of the world's contrabassoon The piece was composed in most famous conductors, Brass 1906 during a time of great nothing could properly 8 horns happiness. Four years later, he prepare him for the musical 8 trumpets (four offstage) dedicated the symphony to "My
stress and logistical head- GustavMahler.com 7 trombones (three offstage) dear wife, Alma", the first time aches of putting the Eighth © tuba he had given any of his pieces a together – for the simple Mahler was known to enjoy long walks to rid personal inscription. A symbol Percussion reason that no human being himself of day-to-day worries. 4 timpani of marital bliss, the perfect un- had ever attempted to com- bass drum ion between Mahler's Faustian pose and then conduct a new was in Munich, too, publicly cymbals creativity and Alma's eternal symphony for this number of femininity? Far from it. Mah- supporting her husband, while triangle performers. He had begun re- privately carrying on her affair ler's dedication was part of a hearsals in May that year, be- tam-tam strategy to rescue his marriage with Gropius. And yet Mahler 2 tuned bells in A and A♭ fore he knew of Alma's infideli- threw himself into the sympho- after Alma brought it to the glockenspiel ty. ny, taunting his incompetent brink of destruction during the Keyboards summer of 1910 – she was hav- The record of his working ses- pianist, charming the children organ ing an affair with the architect sions in Vienna, Leipzig, and in the choir, trying and failing Walter Gropius. Mahler had Munich is the most revealing to force a new leader on his celesta discovered the truth as he com- insight we have into Mahler the orchestra, and cajoling his mu- piano posed his 10th Symphony, the practical musician and neurotic sicians to find the poetry of his harmonium same summer that the Eighth composer. After the first full music: "Here I want my orches- Strings was finally being rehearsed for rehearsal in June, he wrote to tra to be nothing but a large 2 mandolins its premiere. The discovery of Alma: "It was a veritable purga- guitar!"; "My children's choir 2 harps (preferably doubled) his wife's infidelity was the tory. I don't know what to do must enter here like a knife 1st violins through butter." greatest psychological and emo- when I'm finished here," before 2nd violins tional crisis he would ever expe- outlining the reason for his use The performance was one of violas rience (so much so, that Mahler of Goethe in the piece. "The the most talked about musical cellos consulted with Freud in Hol- most important aspect of it is events of the new century, caus- double basses land that August). But just a Goethe's view that all love is ing a storm of adulation from generative and creative his supporters and a wave of Choral and Vocal Forces and that there is a gener- antisemitic vitriol from his op- Three soprano solos ative force that is both ponents. physical and spiritual Two alto solos and the emanation of But Mahler himself was trans- One tenor solo this 'Eros'. You have a formed at these performances. One baritone solo symbolic depiction of it Composer Anton Webern was One bass solo in the final scene of there, and wrote to Arnold Two SATB choirs Faust." Schoenberg: "I can't tell you One children’s choir how beautiful Mahler's sym- By September, and the phony is … The first movement final week of rehearsals is unprecedented in its impact. leading up to the first The loudness at the end reaches performance at the a high peak … It's hardly beara- 3,200-seat Neue Musik- ble. As a whole, the work is Festhalle in Munich, barely conceivable, and I'm still there was a grim irony completely bowled over by it." to Mahler's words. His Eros-obsessed sympho- Courtesy of Guardian News & ny was no longer a sym- Media Ltd bol of the earthly para- dise he thought his mar- riage had been. Alma Chetham’s 50th Anniversary poster Page 12 Hemiola
C HETHAM’ S 50 Y EARS CELEBRATION
In September 1969, a new in- mean you could bring in the Stephen Threlfall, commenting take of students was admitted school’s friends. And so we on celebrations to Chetham’s by musical audi- have done just that, invited our tion, laying the foundations for friends, past pupils and teachers I wish I’d written what Mirga the specialist music school in and those that have spent even Manchester. Fifty years later, a little time with us as part of Gražinytė-Tyla [conductor former Chetham’s students fill the outreach or project work. CBSO] said in interview once. concert halls across the world. “When you celebrate a birthday, Since January this year, the Simon Wright, past pupil, is now the chorus master for the you don’t stay at home alone. school has been celebrating this anniversary. Leeds Festival Chorus. He told You invite your friends” me that he was up for this but Another recent addition are As part of these celebrations added, ‘By the way, we only pupils from a very worthy or- and to mark Stephen Threlfall’s sing Choir One’; which is why ganisation that connects final concert at the school, the St George’s Singers got Choir schools across Europe. We Choir is delighted to have been Two. have some pupils from Holland invited to sing in the perfor- and one or two from Norway. mance of Mahler’s Symphony David Evans, another old boy, We have links with Melbourne no. 8. in E♭ major. In interview, is Head of the Choir at Here- as well, from a previous project. Stephen Threlfall gave an in- ford Cathedral. We had under- They could not afford to send sight in to the origins of this taken a number of projects to- over two pupils, but their Vice project. gether over the last couple of years and he wanted his name Principal is coming. We are still ‘I just thought that this was a put down on the list for this hoping that we may manage to great piece to celebrate 50 one. There are 30 voices from get two children from Beijing as years, as you’re not going to do Hereford and some of the chor- well. it more than once, if at all. It isters from Manchester as well. We have one or two guests in was also a piece that would the orchestra. Two of our past pupil oboe players are coming, to play oboe and cor anglaise. It’s just all part of that friend- ship mix that we want to create. And we’ve got the added bonus that the performance is being
recorded live on Radio Three’.
What could possibly go wrong? © © CBSO Mirga Gražinytė-Tyla conducting CBSO
M AHLER MEMORIES BY SUSAN H ODGSON
First day of re- October 1998 (was it hearsals for the really 21 years ago!) The Mahler 8. I’d dug enormous chorus spill- out my old score, ing over onto audience used only once seats; dozens of the very before when I noisiest orchestral in- sang the work struments Mahler could with Stockport find; the hours spent Festival Chorus (SFC), and opened it on the with John Huw Davies in Stockport Town Hall Tuesday evening to find with some relief that all council chamber getting to grips with this bonk- the second-choir lines were already highlighted. ers music; Ray Lomax on the podium exhorting us to ever greater heights of musical passion; the Half-way through rehearsal, something fluttered overwhelming sheer physicality of the ‘Gloria’ to the floor: a numbered choir seat ticket for the fireworks and the indescribable power of the final Bridgewater Hall, given out to all members of chorus. the SFC on concert day to ensure we were in the right places, and which I had obviously pushed Second time round, will it be as good? into the score and forgotten. Then it all came back. Issue 61 Page 13
BRUNDIBÁR IN T HERESIENSTADT / T EREZIN
In interview, Stephen Threlfall described a particular outreach The story of Brundibár project that involved working with It is not surprising that Brundibár Paul Aron Sandfort, a child survi- was such a hit. The plot of the vor from the Theresienstadt opera shares elements with fairy
(Terezin) ghetto outside Prague. tales such as Hansel and Gretel. The children’s opera Brundibár This story concerns a fatherless (bumble-bee) was written by Hans brother (Pepíček) and sister Krása in 1938. Rehearsals and Pinterest © the first performance took place at The children of Terezin performing Brundibár (Aninka / Annette). Their mother a Jewish orphanage in 1941 or is ill and the doctor tells them she 1942. By 1943 all of the children of the original who were inspecting living conditions in the needs milk to recover. But they camp. They saw a beautified ghetto, sports, a chorus had been transported, joining Krása in have no money. They decide to Terezin, who reconstructed the full score based café lifestyle, increased food rations. They did sing in the market place to raise on memory and a partial piano score. The pro- not know that many of the residents had been duction was deported to Auschwitz to reduce crowding dur- the needed money, but the evil shown 55 times in ing their visit. organ grinder, Brundibár, chases 1943. Later that year, the production was filmed for a them away. However, assisted by Paul Sandfort, Nazi propaganda film Theriesienstadt: a documen- a handful of animals, they who had learned tary film from the Jewish settlement area. As soon as overcome Brundibár trying to the trumpet as a filming finished, nearly all of the participants steal the money and are able to Tivoli Boys' Guard were herded into trucks and sent to the Ausch- buy the milk for their mother. in Copenhagen, witz gas chambers, including Krása. However, found himself Paul Sandfort survived. His mother had re- The children of Terezin would have drafted into the married a Danish man meaning that he was easily seen and appreciated the ensemble for the classed as a Danish Jew. Denmark stood up for story’s message; a triumph of productions of its Jewish population, insisting upon the Red justice over evil. Brundibár. He was Cross visit. It was the Danish king, Christian X, Hans Krása (1899-1944) whose there for a special who manged to secure the liberation of Terezin’s opera provided respite to the performance staged Danish prisoners on 15 April 1945. children of Terezin for the Red Cross,
WORKING WITH P AUL S ANDFORT S TEPHEN T HRELFALL
It is worth remembering that, own, Nachshub (Extra Helping) when Hans Krása took his mu- for narrator, string quartet and sic into the ghetto, the musi- trumpet. cians would perform the pieces As part of the project, we taught in attics and cellars, anywhere Independent The away from the German ears. the opera songs to the children. © And others, not just Krása, I can remember a particular would write parts for the instru- moment. A teacher from one of mentalists that came in. the Stockport schools came up to me and pointed out a young Sadly, because of the regular child, a girl who was statement- movement of people onward ed [with specific learning diffi- from the ghetto to the camps, culties]. He was quite aston- they never knew how long that ished. Apparently at the school Paul Aron Sandfort, part would be played. Paul the girl was almost silent, barely musician, musicologist, teacher, played the trumpet and did so speaking to anyone. And yet stage director in the performances of the there she was in front of us, 1930-2007 opera. laughing, singing and just com- pletely free. Right up until his death, Paul In 2005, we planned a project Sandfort wanted to travel to use This was far beyond other based around the children’s Brundibár to put his humanitari- things I had taken on with our opera. Working with GM Mu- an message across to children. outreach work. sic Hub, we had identified a When he joined us on our tour, number of children from he would introduce the opera around the borough to take part and the songs. We also per- A poster for the performance of the opera in 1944 in this 35 minute performance, formed a composition of his to join in the chorus. Page 14 Hemiola
M ASS IN B M INOR LOOKING BACK
Responding to Neil’s guidance and baton, the Northern Baroque provided us with a tremen- dous support, playing with sensitivity and passion. We were equally delighted to have been performing with outstanding soloists; Rebecca Lea, Joyce Tindsley, Eleanor Carlisle, Richard Dowling and Marcus Farnsworth. Our large audience was made up of loyal followers of the Choir as well as St George’s Singers first timers and also individuals who wanted to hear a live performance of this magnificent work in the stunning surroundings of Gorton Monastery. Choir members were asked to listen to com- ments from our audience, so that their words could be included in Hemiola. You can read some of these comments on page 15. One of our visitors, a friend of Mark Warring- ton, was from Spain. He waxed lyrical about the experience of listening to this work in the surroundings of the monastery.
© Graham North .
It is almost surreal to consider that, in amongst the flurry of two more concerts and a European tour, it was only a few months ago the Choir was singing out the magnificent strains of Bach’s Mass in B Minor in the inspiring purple-hued aura of Gorton Monastery. Whilst the acoustic of Pugin’s building may not have been totally suited to such a large choral work, the Monastery was in its finest colours, which did much to enhance our performance. And the sell out audience helped to soften the sound delay! The Choir and Northern Baroque
A S WINGLE REVIEW
One member of the audience was Alan Byers, a former professional singer. Alan wrote some words to review what he had heard. You can read more about him on page 15. Candles flickered around statues as the once deserted Monastery awoke to the strains of Bach’s sol- emn procession. The St George’s Singers managed their long polyphonic phrases seemingly without Rebecca Lea, Joyce Tindsley, and effort. Hard consonants sparkled in the texture and the whole was under the masterful control of Eleanor Carlisle Maestro Neil Taylor. Northern Baroque provided a lively setting when joined in French and Italian style hemiolas and sim- ilar rhythmic devices that were never overdone. Tempi were well judged, intonation secure in its ba- roque pitch and early instruments. The soloists were all outstanding with clear articulation. Perhaps more weight and articulation could have been displayed in the lower parts in this difficult acoustic. The experienced Marcus Farnsworth provided some lovely legato singing.
Richard Dowling and Marcus Farnsworth Issue 61 Page 15
M ASS IN B M INOR AUDIENCE VIEWS
I was really excited about going to this concert, IN MEMORIAM and I was not disappointed. From the first Kyr- ie on, it was pure pleasure. The choir was so clear and the MD drew out the distinct 'voices' Returning from our tour to Bruges, of each part to create such a layered, textured the Choir were both deeply dynamic yet cohesive sound. It's a privilege to shocked and saddened to hear of have live music - it was a treat to watch as well the unexpected and untimely as listen to the orchestra and instrumentalists death of our friend and fellow St play together (the timpani and all the glorious George’s Singer, horns!) as well as performing their virtuoso bits. The vocal soloists were so accomplished. What a pleasure! Many thanks to everyone BRIAN MARSDEN. Neil Tayor, The Choir and Northern Baroque take a final curtain involved. call. Audience member Brian was a member of St George’s Singers for many years, a Margaret Biddle It was a wonderful concert. stalwart supporter of our tours. He The chorus, soloists and orchestra were all fan- had been looking forward to tastic. A superb venue which heightened the joining us in Bruges, as well as I am still on cloud nine and have sections of the experience. Like me, you are probably only half- later performing in Mahler’s Osanna whizzing around my head! way back down to earth from that experience. Symphony No. 8 in the This is the first St George’s Singers concert that I Bridgewater Hall. JW, Audience member have been to, and I obviously should go to more.
Audience member The B Minor Mass was Brian’s last Cuando entras en el Monasterio de Gorton, la concert with the choir; we know luz penetra tamizada por las cristaleras y te Fabulous - I’ve run out of superlatives! that he thoroughly enjoyed singing prepara para dejar que las voces del coro te in it and experiencing the BL, Audience member transporten a un mundo diferente. ¡Qué mara- excitement of performance. villa! TRANSLATION The concert on Sunday was superb. [From the Our concert on Saturday 23 third front row] I had the privilege of a fantastic November 2019, which When you enter Gorton Monastery, the light flooding sound and view of all the participants. It all includes Mozart’s Requiem , will in the through the windows prepares you to be trans- seemed to fit perfectly together. Fantastic ported by the voices of the choir to another world. soloists, singers and orchestra. It was very much be dedicated to his memory. An Simply marvellous! perfect. obituary for Brian will be included in the next edition of Hemiola. Spanish audience member Audience member Lia Menascie
ALAN B YERS, S WINGLE SINGER
Alan Byers, has had a long, prestigious and var- Swingle Singers, performing alongside Ward ied career in the singing world. His voice can be Swingle in the late ‘70s and early ‘80s. Alan rec- heard on recordings as diverse as the cast re- orded both the Folio and Skyline LPs as a member cording of CHESS in 1984 (alongside Barbara of the Swingle Singers. In this image of the Folio Dickson) and Puccini’s La LP, Alan can be seen sporting a Boheme in 2005 (alongside beard and standing tall on the Placido Domingo and back row. Montserrat Caballé). Alan’s tenor voice can also be A choral scholar at King’s heard in recordings alongside College, Cambridge, Alan other famous names such as was under the tutelage of Luciano Pavarotti, James Bow- David Wilcocks. man and Emma Kirkby. Alan also sang with Kiri Te Kanawa His first professional years and Jose Carreras in a 1986 were spent with the BBC recording of South Pacific. singers, then he joined the St George’s Singers
For more information, please contact:
John Smith (Chair), 01422 359073 [email protected]
Jacqui Smith (Secretary), 01625 875437 [email protected]
Joanna Bluck (Hemiola Editor) [email protected]
Jean Egerton (Publicity), 01625 871371 St George’s Singers was formed in 1956 by Rev Eric Chapman and Geoffrey Ver- [email protected] ney, organist and choirmaster of St George’s Church, Poynton in Cheshire, where the Choir still rehearses every Tuesday night. Geoffrey’s dream was to build a community choir, capable of performing major choral works to a high standard and which would attract singers and audiences from neighbouring towns. Geoffrey died in 1964, but his legacy was nurtured by his successors Duncan Eyre, Ray Find us on the web at: Lomax and Stephen Williams, and is continued by our present Musical Director, www.st-georges-singers.org.uk. Neil Taylor. Hemiola is sent to all Friends of St George’s St George’s Singers is recognised as one of the leading and most innovative choirs Singers, and a digital version in the North West of England, performing an astonishingly varied repertoire, and goes to those on our Mailing with around 100 members drawn from an area far beyond the community of List. To receive a regular Poynton. We present at least four major concerts a year, in venues including The copy, complete the Mailing List registration Bridgewater Hall, Gorton Monastery, The Stoller Hall, Manchester Cathedral and on the website, or contact the Publicity Royal Northern College of Music, hold annual Singing Days, and tour regularly in Officer. the UK and abroad. St George’s Singers continues to explore and expand the boundaries of choral mu- sic, and communicating the sheer enjoyment of singing together. Entry to the Choir is via audition, and new members are welcome to come along to rehearsals at any time.
ST GEORGE’S CONCERT DIARY MANCHESTER SINGS!
Saturday 8 June 2019 The Well-Conducted Tour Lymm Festival, Lymm, She loves me, she loves me New Voices St George’s Church, Poynton Warrington, Cheshire not; Songs of Love with the Buxton International Festival Chorus of Opera North 20 - 29 June 2019 Cape Town Opera & Friday 5 July 2019 Salts Mill, Saltaire Mahler Symphony No 8 Various venues in Lymm Northern Chamber Orchestra 21 June 2019 7:30pm Chetham’s Chorus and Symphony Celebrating the visual and Buxton Opera House Orchestra and others performing arts, and drawing An evening of seductive, Bridgewater Hall on local talent, this year’s line romantic song from the Chorus 5 July 2019 7:30pm up includes family art and of Opera North accompanied Marking the opening of the Saturday 20 October 2019 literature events as well as by a piano duet. From Buxton International Festival local choirs and musicians. Brahms Schicksalslied: Song of Destiny Palestrina’s sensuous motets 40th Anniversary, singers from Music performances range and Brahms’ romantic waltzes, By invitation - European Doctor’s Buxton Festival Company from the sound of cinema to a to the exuberant jazz standards combine with visiting young Orchestra Latin twist from guitarist of Fats Waller and Cole Porter artists from Cape Town as Bridgewater Hall Craig Ogden and leading and much more, this is a chance well as rising stars from the Caption describing picture or cellist Helen Thatcher. Also to see the acclaimed ensemble graphic. RNCM for a celebratory Saturday 23 November 2019 appearing is the choir Altèri, perform in an intimate setting. concert. They will present in Sea and Stars; one or two Mozart Requiem and McDowell Tickets £15 works from well-loved works Magnificat familiar faces in amongst by Mozart, Rossini, Bizet and them. Royal Northern College of Music 01132 233600 Beethoven. Details of events and ticket Mon–Sat 10am-8pm Tickets £15 - £65 Ticket Hotline: 01663 764012 prices from: 01298 72190 [email protected] www.lymmfestival.org.uk