John Rutter: Choral Ambassador

October 2017 Issue 56 Hemiola St George’s Singers

JOHN RUTTER: CHORAL AMBASSADOR INSIDE THIS ISSUE: BY NEIL TAYLOR Rachmaninov Vespers 2 Chanting Russia’s history 3 To my mind, John Rutter is a He’s also a thoroughly engag- Verdi Requiem review 4 skilled craftsman, a gifted com- ing, warm and generous man. I Christmas with Rutter 5 poser and a classy interpreter. first met him when, as a student, I had a call one Saturday after- Letter from the Editor 5 Let’s look: a definitive version of noon asking if I could come and SGS News 6 the Fauré Requiem in its original make drinks at a Cambridge scoring; many brilliant record- Singers’ recording session in Kath Dibbs remembered 6 ings with his own group, The Robert Brooks: interview 7 Hampstead, North London. Everybody tells me, who has sung in a choir, I hopped on the tube, arrived Costa Rica: final memories 8 that they feel better for doing it. Whatever the Song for Diana 9 at University College cares of the day, if they meet after a School, listened to the ses- long day’s school or work, somehow Beethoven’s Fantasy 10 they leave their troubles at the door. sions with that amazing Carol concert and Messiah 11 group and the wonderful Jill White as producer, and Cambridge Singers over the past brewed up. 35 years; such an accomplished Since then, I’ve had the privi- eye and ear for instrumental and vocal colours; beautifully hand- lege of working with John and ST GEORGE’S SINGERS whilst he is charming and anec- written music notation; well- dotal, he does demand much of PRESIDENT: crafted melodies; skilled and apt use of texts; a brilliant interpreter his fellow musi- Choral music is not one of life’s frills. Marcus Farnsworth MA ARAM cians and the of the music of William Byrd. It’s something that goes to the very VICE PRESIDENTS: singers around heart of our humanity, our Susan Roper If you’re in any doubt whatsoev- him, displaying sense of community, and our Mark Rowlinson er about John as a so-called seri- a boundless souls. Stephen Threlfall Stephen Williams ous composer, listen to Hymn to degree of energy the Creator of Light. It will blow and enthusiasm for the music. MUSICAL DIRECTOR: you away. I know the Choir will enjoy Neil Taylor He is truly All of those people are pouring out working with him for ASSISTANT MUSICAL DIRECTOR: an ambassa- their hearts and souls in perfect har- the Christmas con- mony, which is kind of an emblem for Robert Brooks dor for the cert. There is an al- English what we need in this world, most childlike delight ACCOMPANIST: choral tradi- when so much of the world is in making music and at odds with itself. Peter Durrant tion, and his working with his

name and influence has brought singers. The concert on 11 De- the choirs, singers and other liv- cember is a marvellous oppor- Registered Charity no 508686 Hear more from an interview with ing composers of this country in tunity to work with great musi- John Rutter talking about The Member of Making Music, the National the homes of people across the cians in a fabulous venue to a Federation of Music Societies Importance of Choir on YouTube globe. sell-out audience. at https://www.youtube.com/ www.st-georges-singers.org.uk Let’s make it a good one! watch?v=pm-Pm1FYZ-U

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Saturday 21 October 2017 The Stoller Hall, Manchester RACHMANINOV VESPERS: PREVIEW

Rachmaninov Vespers Górecki Totus tuus Tavener Song for Athene By the beginning of the 19th was composed by Rachmani- companied, since instruments Łukaszewski Nunc dimittis century Russia’s church music nov in a period of less than two were forbidden in the Orthodox had become Western in design weeks early in 1915, shortly church; the text (in Old Church St George’s Singers and form, and had largely for- after the outbreak of World Slavonic) was paramount, nev- conductor Neil Taylor gotten its roots in traditional War One. It was premiered on er to be obscured by counter- znamenny chant: the singing 10 March by the Moscow Syn- point; and the hymns had to Tenor: Stewart Campbell tradition of the Russian Ortho- odal Choir as a benefit for war use the ancient znamenny dox church, developed from the relief, receiving such enthusias- (‘notated by means of signs’) Byzantine chant introduced to tic public and critical reaction Tickets: £15, students £6 chants or more recent Greek Russia in the 10th century. But that it received four more per- and Ukrainian chants as basis Tel : 01663 764012 the nationalist revival, centred formances that same month. for the melody. The remaining on the Moscow Synodal School Kastalsky wrote: Email: tickets@st-georges- chants were invented by Rach- of Church Singing, led dozens ‘Rachmaninov’s new composi- maninov himself as ‘conscious singers.org.uk of Russian composers, particu- tion is undoubtedly a contribu- counterfeits’ (and for which he Online: www.st-georges- larly choral specialists such as tion of great importance to our seemed to have a natural stylis- singers.org.uk Kastalsky, Chesnokov and church’s musical literature… of tic affinity) and this consistent Gretchaninov, to turn their unusual value is the artist’s use of chant serves to unify the

creative energies to composing loving and conscientious atti- work. Within all these con- choral music on texts drawn tude to our church chants, for straints, however, Rachmani- from the Russian Orthodox in this lies the promise of a nov created a monumental liturgy. In doing so, they creat- splendid future for our liturgical work that elevates the spirit by ed the New Russian Choral music.’ its lofty expressiveness, and School which, from the 1880s captivates the ear by its sheer Sadly this promise never mate- to 1917, constituted a ‘Golden beauty. rialised. Two years later, the Age’ of Russian church music – Russian Revolution banned and of which Rachmaninov’s Some movements are short, religion, disbanded the Synodal All-Night Vigil is the crowning whilst others are complex struc- Choir, and forced Rachmani- achievement. tures in which thematic materi- nov into self-imposed exile in al is continuously reworked. Sergei Rachmaninov (1873– the West, never to compose The rhythms are rarely regular, 1943) was born into a noble another sacred work. with frequent changes of time family of Tartar descent who signature, and often the elimi- Today the Vespers is regarded as had been in the service of the nation of bar lines altogether. amongst the most evocative, Tsars since the 16th century. The most remarkable feature is dramatic and harmonically His father having squandered its ‘choral orchestration’. Rach- Rachmaninov: The Last Concert – sumptuous in the Russian Or- his wife’s fortune, the family maninov created great richness statue of Sergei Rachmaninov in thodox repertoire, and a major Knoxville, Tennessee, where the moved to St Petersburg where of sound by techniques such as work in the canon of Western composer gave his final concert in Sergei studied at the Conserva- dividing the choir into as many choral music. 1943 tory before as twelve separate parts, dy- moving to The work is scored for unac- namic extremes and contrasts Moscow. Alt- companied chorus, and com- in texture, the onomatopoeic hough recog- prises settings of fifteen hymns sound of bells, and humming – nised mainly and psalms from the All-Night which probably would have as a gifted Vigil – the evening and night been frowned on by the Ortho- pianist and Offices of Vespers (evening dox authorities, since removing composer of prayer at 6pm or when the the text converts the singing concertos and lights are lit), Matins voice into an instrument. He symphonies, (midnight), Lauds (dawn pray- also makes full use of the char- he also com- er, 3am) and Prime (early acteristic sonorities of the low posed a num- morning prayer, 6am) – which Russian bass voice, which de- ber of choral were held as one long service scends to the subterranean works, before major feast days. Some depths of a low B flat at the end amongst them texts are familiar as Anglican of the Nunc Dimittis. The Bells and canticles or parts of the Catho- The last time St George’s Sing- The Liturgy of lic Mass, whilst others are spe- ers performed the Vespers was in St John Chrys- cific to Orthodox worship. ostom. 2008 in Gorton Monastery – an Despite the fact that the Vespers amazing space in which to sing

Photo: Dr Carl Droms Dr Carl Photo: Commonly was intended as a concert one of the greatest of all spiritu- (but incorrect- work, not a church service, al works. The forthcoming per- ly) called the Rachmaninov was still careful formance at The Stoller Hall Vespers, the to observe Orthodox proprie- will be no less remarkable.

All-Night Vigil ties. The voices had to be unac-

Issue 56 Page 3

CHANTING RUSSIA’S HISTORY

The beauty of the sound world at sight. Around AD 1600 a (hooks) or zna- created by Rachmaninov’s Ves- simplification to the notation mena (signs or pers arises largely from his use was introduced called ‘red marks). Each of traditional Russian chant, marks’ – small letters in red sign may include the singing tradition used in the placed before each znamenny a large black sign, to indicate the highest Russian Orthodox Church. hook or stroke, Znamenny notation with ‘red marks’ note of the sign it stands before. several smaller black points and The acceptance by Russia of the lines. Some may mean only one Meanwhile, in the south-west, Orthodox faith from Greek- note, some 2-4 notes, and some the Orthodox Church in Kiev speaking Byzantium in AD 988 a whole melody with a compli- faced increasing competition meant that their liturgy was cated rhythmic structure. The from the Catholic Church. In initially heavily influenced by most notable feature of this response, the Russian Church Greek practices but rapidly took notation is that it records transi- opened schools to teach laymen on a distinct Russian style, re- tions of the melody rather than to sing and read chant, borrow- sulting in a peculiarly Russian notes. The signs also represent ing from other Orthodox kind of chant, znamenny. tempo, loudness, and mood. chants, forming a distinctive Every sign has its In the 16th century, the Russian Kievan chant style, and eventu- liturgical tradition split between own name, and

ally adopting polyphonic styles. the north (Moscow) and the also acts as a south-west (Kiev). In the north, By the middle of the 17th centu- spiritual symbol. znamenny chant grew more ry, Western music started to For instance, the

elaborate and the notation sys- penetrate Russian culture, and sign called ‘little

'pbm' 'pbm' Szubert tem more intricate. Singing the Orthodox Church intro- dove’ (golubchik) ł schools attached to monasteries duced polyphony, based on represents two sprang up, notably the Novgo- Polish, German and Italian rising sounds, rod School. Ivan IV (The Terri- harmonies. Znamenny chant but is also a sym- St Sophia Cathedral, Kiev PawePhoto: ble) moved the Novgorod has however been preserved in bol for the Holy Ghost. the chanting traditions directly school to Moscow to increase Znamenny singers perform with descended from it. the Kremlin’s prestige, and was their natural, not classically himself a composer of chant, Znamenny chant is unison, trained, voices, often in a style two of which still exist today. melismatic (ie a group of notes reminiscent of folk music. The Gradually the system became sung to one syllable of text) chant has no pauses or rests, more complicated, so that only singing, and has its own special and ideally singers’ voices be- trained and educated singers notation, called ‘stolp’. The come united in one single could sing an unknown melody symbols used are called kryuki voice.

Watch one musician’s attempt to play the Prelude in C sharp minor THE HANDS OF RACHMANINOV with slightly smaller hands – and a few aids! Look for Part of Sergei Rachmaninov’s 9th, as could Daniel Baren- Other professions of course also ’Rachmaninov had Big Hands’ on brilliance as a pianist can be boim, whilst Lang Lang manag- demand large hands. The Na- YouTube, or log onto https:// www.youtube.com/watch? attributed to his unusually large es a massive 12th. But only tional Basketball Association in hands, with their very long Liszt can keep up with Sergei – the United States for instance v=93JiXloIhn4 fingers and thumbs. He could both could stretch to a 13th – or has measured the hand-span of stretch his hands further across 12 inches. professional basketball players the keyboard than any other for nearly 25 years. In all that pianist, and much of his own It has been suggested by some time, only one player has rec- piano music, with its big chords that Rachmaninov’s hands orded a 12-inch span – an indi- and rapid, glittering runs up were the result of ‘acromegaly’ cation of how remarkable a and down the keyboard, was – a disease caused by the over- human being Rachmaninov directly influenced by this production of growth hormone. was. unique physical ability. The composer was admittedly very tall, and had a wide, pro- Sergei’s last words were not So, how big were his hands, truding forehead, both features documented, but on learning and how did they compare with associated with the condition. that he had terminal cancer, he other famous pianists? Scriabin, However, there is no direct said: ‘My dear hands. Farewell a Russian contemporary of evidence that he suffered from my poor hands.’ Rachmaninov, could stretch an any such disease – he may octave. Moving forward in simply have had big hands! time, Myra Hess could span a Sergei Rachmaninov and his hands Page 4 Hemiola

VERDI REQUIEM AT GORTON: REVIEW

in 1868 Verdi had attempted to to a degree from his lack of the get the Italian composers of the deep sonority a true bass would day to combine in a Requiem in have brought to the part, de- his memory; his idea was never spite that lack he was a tower of fully realised. strength throughout. Mezzo Joyce Tindsley immediately When Manzoni died in May showed herself to be a class act 1873 Verdi was devastated. A in the following Liber scriptus week after the funeral Verdi exhibiting an easy top to match went to Milan and visited the her firm lower tones. Through- grave alone. Then, through his out the performance she publisher, Ricordi, he proposed showed her grasp of the nuanc- to the Mayor of Milan that he es of the words as well as vary- should write a Requiem Mass to ing her dynamic. Importantly, St George’s Singers with The Sheffield Set within the east Manchester be performed in Milan on the her vocal clarity and intonation, Chorale in Verdi’s Requiem, June 2017 area of Gorton, the Monastery first anniversary of Manzoni’s throughout her range, cut was built by the Franciscan death. … It was Verdi’s eulogy through the sometimes dense Order between 1863 and 1871. to a great man of Italy and textures of Verdi’s writing and Designed by Edward Pugin, since when the work is often the resonant acoustic. this magnificent building fell referred to as ‘The Manzoni into disrepair and was subject Requiem’. At the time, and to The following trio of mezzo, to substantial vandalism in the this day, there is debate about soprano and tenor introduced 1970s. It was placed on the the nature of the music Verdi the other two singers, soprano World Monuments Fund Watch composed to honour his hero. Rachel Nicholls and tenor Mat- List of 100 Most Endangered Sites It is very different from the thew Minter. Her immediate in the world in 1997. Following traditional Ecclesiastical Catho- impact matched her mezzo a 12-year campaign, a total of lic Requiem Mass, being more colleague and was reinforced by £6.5m was raised with many of dramatic, even operatic, albeit the following Recordare, essen- the original artefacts and deco- set to the traditional sequence tially a duet for the two female rative features being rescued of movements and words of the voices. With a background of from auction Latin Mass whilst omitting the singing the likes of Wagner’s and by good Gloria and Credo. demanding Isolde, and Beetho- ven’s Leonore, her spinto sized fortune. The Given the dramatic nature of voice and clear tone and articu- Monastery is Verdi’s composition and the lation enabled her voice to cut Grade II* dynamism of his orchestration through the woolly sound of the listed, has a it was thought appropriate for acoustic, especially when Verdi very individ- St Georges to be joined by let the orchestra off its leash, as ual sense of around 50 members of the Shef- he often does in the piece. I grandeur and field Chorale plus 60 orchestral knew straight away that Rachel makes an players. The quality of the cho- Nicholls would make a success ideal venue ral singing was evident through- of the demanding last move- for musical, out this performance, not least ment, the Libera me, which she, Soloists (from left); Colin Campbell, particularly choral, performanc- in the hushed opening of the and the choir carry alone. Mat- Matthew Minster, Joyce Tindsley and es, albeit the resonant acoustic Kyrie when the articulation was Rachel Nicholls thew Minter, a big man, more is challenging. spot on. It was a major draw- like a bass than a tenor, sang back of the performance that Of all choral works in the reper- with mellifluous heady tone in they were sat on the same level toire Verdi’s Messa da Requiem the Ingemisco, but lacked the as the orchestra and behind might be seen as ideal reper- ideal vocal strength and bite at them. Consequently in the toire for the renewed Monas- other times, being too easily highly resonant monastery, tery building, as representing overpowered by the orchestra with its high vaulted roof and the agnosticism of the compos- and chorus. er and the religious purpose of plastered walls, Verdi’s dra- the music. A complex personal- matic music at times seemed to ... The 150 choristers showed a ity, Verdi could be … fiercely overwhelm the chorus contribu- capacity to refine their sound or loyal to those he revered. Along tion. This was very evident as open up to full throated vibran- with Rossini, the Italian he we sat on the edges of our cy as the music required. Re- most revered and idolized was chairs for the thundering Tuba grettably, the volume composer Alessandro Manzoni, the au- Mirum and its later reprise. sometimes overwhelmed them thor of the novel I Promessi Sposi Even that thundering music has in their seated positions and that he had read age 16 and to its quiet moments as the bari- blurred their clarity. I reluctant- which he attributed the formali- tone enters with his intoning ly decided that this is a piece for sation of the unified Italy’s lan- Mors stupebit. Colin Campbell’s the Bridgewater Hall – not Gor- guage. At the death of Rossini vocal steadiness, clear diction ton Monastery. and vocal strength compensated Robert J Farr Issue 56 Page 5

CHRISTMAS AT THE BRIDGEWATER WITH JOHN RUTTER tunity for the Choir to sing in vocal line-up was two counter- the Bridgewater again alongside tenors, a tenor, two baritones other great vocal and instru- and a bass – a line-up that has- mental musicians: The King’s n’t changed since, although the John Rutter responding to our Singers, Chetham’s Chamber individuals of course have! In Twitter feed about the concert Choir, organist Jonathan Scott, their fifty-year history, the and the RPO, all conducted by group has performed on the John Rutter. world’s great stages – Royal Albert Hall, Sydney Opera The programme will feature a House, Carnegie Hall – have festive mix of carols, including won numerous awards and a Monday 11 December 2017, some of Rutter’s own works, place in Gramophone magazine's 7.30 pm Chilcott’s Twelve Days of Christ- Hall of Fame. Bridgewater Hall What could possibly be more mas, and Christmas music by John Rutter’s Christmas Festival festive than a Christmas con- Bach, Purcell, Smetana and Everyone at St George’s Sing- cert with some carols by John much more. ers is excited about the concert. Tickets £17–45, concessions We’ll see you there! available until 11 November, Rutter? Obviously, a concert The King’s Singers is one of the with the man himself! £7 student standby tickets UK’s longest-established vocal available on the day We were all thrilled when Neil groups. Officially informed us a few months that born in 1968 Bridgewater Hall Box Office, we’d been invited by the Royal (making the tel 0161 907 9000, Philharmonic Orchestra to join group 12 years online them in ‘John Rutter’s Christ- younger than St https://tickets.bridgewater- mas Festival’ concert at the George’s Singers) hall.co.uk/ Bridgewater Hall in December. and formed by This highly prestigious annual six then recently- event always draws a packed graduated choral audience (as at early October scholars from tickets were already nearly sold King’s College, The latest incarnation of out!) and is a wonderful oppor- Cambridge, the The King’s Singers

A LETTER FROM THE EDITOR

Dear readers correcting spelling, punctuation job. (I hear a huge sigh of and grammar, and (editorial nerd relief from the second altos – Whilst Neil insists that he alert!) eliminating inconsistent use always first in line to be pes- alone dictates the tempo, the of hyphens and italics; keeping a tered for 300 words by the universe doesn’t always agree, log of the more printable of Neil’s following Saturday!) Jo will of and the years continue to fly asides – and above all getting to course bring her signature past accelerando, with little know those of you in the Choir commitment, off-the-wall regard for a man waving his with interesting stories to tell, and creativity and manic organisa- baton. Thus it was with some persuading (cajoling, blackmail- tional skills to the job – but Editors should be neither seen horror that I realised recently ing, threatening) you to write needs you all to provide her nor heard – but should always that I’d been editing Hemiola about them. with stories and news about have a book to hand for nearly eleven years. High your musical (and other) ad- As I was preparing Hemiola for the time that I handed the job over ventures. So please start bom- final time, I had a look back to someone else – so this will barding her with emails at through some old issues, and was be my last issue as Editor. [email protected]. astounded at the sheer variety of Of all the jobs that have to be musical and other activities we get Thanks to everyone who has done for St George’s Singers, involved in, chorally and individ- provided me with snippets, newsletter editor must be one ually, often for charity. We are jokes, photos, stories, poems of the most rewarding: inter- truly a socially caring and musi- and articles over the last elev- viewing musicians and singers; cally enterprising bunch of people en years. You have made my researching composers and – the thing that sets St George’s job enormously enjoyable. But their works; digging out ob- Singers apart, and that the news- now I’m putting aside my scure facts; reviewing books; letter seeks to publicise. editor’s blue pen so I can editing copy; finding appropri- spend more time with my So who’s taking over as Editor? ate (and sometimes inappropri- pencil. Now, is that a quaver I’m delighted to say that soprano ate!) images and interesting off in bar 73...? Jo Bluck has agreed to take on the articles about vocal technique; Susan Page 6 Hemiola

ST GEORGE’S SINGERS’ NEWS

Jacqui walks for charity Welcome charge on Tuesday evenings. Well done to Jacqui Smith who We wish our new bass, Andrew He’s been absent for a couple of raised £676 for Macmillan Can- Horner, a warm welcome, and months for health reasons, but cer Charity by taking part in the hope he enjoys his first – and is now raring to go in the back Peak District Mighty Walk. It very busy! – season with SGS. row of the basses as usual. took Jacqui 10 hours to walk There’s nothing like starting off Well, they do need keeping in nearly 26 miles from Buxton to your St George’s life with check John! Ashbourne. Thanks to all SGS something easy like the Rach- members who supported her by maninov Vespers. Pete’s back on track contributing to her fundraising. After a few months out of ac- Wales – on foot tion because of a broken hand, Kath Wood After 22 days, and a punishing Pete Durrant was once more We’re sad to report that former 270.4 miles, Bridget and John pounding the tarmac on Sun- SGS member Kath Wood died Ovey finally completed their day 15 October in the inaugural on 7 July in New Zealand. walk along the Wales Coast Birmingham International Mar- Many of us will have very fond Path when they covered the last athon. He didn’t expect to do a memories of Kath, who raised section from Freshwater Bay to brilliant time, as he hasn’t been money for choir funds year Chepstow, and taking in South able to do any training for some after year with her wonderful Wales and the Gower Peninsu- months, but he did finish the marmalade and her photo la. John and Bridget would like course in a respectable time. He cards. Kath went to live near to thank everyone who has has also now registered for the her daughter last year when it supported and encouraged their Ironman 2018 competition in became apparent that her de- amazing achievement and we Bolton, on 15 July next year. mentia was going to prevent her look forward to hearing more More updates from Pete once returning to the UK. Kath about it in the next issue of he resumes serious training! passed away peacefully, and Hemiola. her funeral was held at a beauti- ful chapel in Karori, just out- Welcome back Chair! side Wellington on North Is- land. We’re delighted to see our Chair John Smith back in

GOODBYE TO MY CHOIR BUDDY: A PERSONAL VIEW BY BARBARA FORSHAW

I sat beside Kath Dibbs in the intelligent, creative, active and Kath had visited Costa Rica and second altos from the first day I committed woman who had had spoken at length to me joined SGS. She had only been such an impact on their lives about the things that I would a member for a few months, but and would be so sorely missed. see on the choir tour. Because she knew the ropes and she of that, and knowing how ill she revelled in inducting me into Kath told me about her illness was, I thought of her many the unwritten rules of the choir. in June when we were getting times whilst I was away. Before She was a funny, larger than close to the Verdi concert at the we left she had texted me with life character who was great Monastery. She delivered the more positive news from her company and called me her information in an almost per- doctors, but on our return we 'choir buddy'. functory way, as though she were soon to hear of her un- accepted the potential serious- timely death. I am uncomforta- We rarely met outside choir ness of her situation. She was bly aware of the empty seat other than going to the odd awaiting a full diagnosis, but beside me at rehearsals. I miss concert together, but at rehears- said that the concert may be her her zest for life and the familiar als we exchanged snippets of last. She said that she badly sound of her powerful voice. our lives – family, holidays, wanted to perform but would politics, interests – and this need support to get through it. I laughed as Kath and Lorraine created a degree of intimacy. On the day she was quite frag- entertained me with tales of After her green burial I attend- ile and was exhausted after their exploits in organising the ed her lovely memorial service rehearsals, but after a sleep in tour to North Wales. It will be at Marple Bridge and it was my car, she was ready for the particularly poignant that she wonderful to have those snip- performance and was deter- will not be there to enjoy it with pets amplified into a whole mined to see it through. Sadly, us. picture. Her close family and as it turned out, it was her last friends talked with love and concert. admiration about this highly Issue 56 Page 7

INTERVIEW WITH ROBERT BROOKS

Do you come from a musical hands of three students were particularly opened re- family? (including me) to run all the garding education – leading Neither of my parents are musi- university choirs till the end of workshops and working with cians, but my grandmother was term. The many extra hours of young people. It taught me to a fine pianist. I was born in taking rehearsal were the best be a much better educator. London and lived in the Barbi- lessons we could have had. What are your immediate can. I attended Junior Guild- Conducting and singing: how plans for the future? hall where I learned guitar, but do you balance them? I’ll be juggling lots of things for I was also taught piano and Our new Assistant Musical It’s tough! At the moment I’m a while yet. I have thought singing at home by musical Director, Robert Brooks, has just about managing to exist about doing a Masters in Sing- babysitters. When I was 8 we already had a lot of conducting through music. Conducting is a ing, but it gets harder: the more moved to Oxford and I got a experience, winning an award much more reliable source of you build up a portfolio, the place in New College School, from Manchester University for income, whilst singing is more harder it is to give it up and go where I had to replace guitar Services to Choral Conducting. sporadic bonuses. But I do love back to education. He also has very definite views with cello because it was not an to perform. I’m inspired by orchestral instrument. What is the difference be- on the art of conducting, The people like Marcus Farnsworth tween solo and choral singing? Dream of Gerontius … and the When did the voice become and soprano Barbara Hanni- In an ideal world there would slow foxtrot. your main instrument? gan, who conducts and sings be no difference, but in practice My musicality manifested itself from the podium. choral singing is more physical- mainly through singing. I How important is singing for ly and emotionally constrained. would sing back things I heard. choral conducting? Take vibrato for instance – in a My babysitters were music I think it’s hard to be a good freely functioning vocal mecha- students – my parents found choral conductor without hav- nism there will be a degree of them by putting ads in the ing a good idea of vocal tech- tremor between the cryco- Guildhall! – and I sang pop nique, because singing is such thyroid and thyroarytenoid songs in the choir at Prior Wes- an internalised experience. You muscles. This results in a fluctu- ton Primary School. When I can parrot what other singers ation of both amplitude and moved to Oxford I had an audi- and teachers say, but if you pitch. However, the wider or tion for New College Choir haven’t felt it yourself, you slower these oscillations be- with Edward Higginbottom (I don’t really have an idea of come, the harder it is to tune sang Let it be). He said that I when or why to apply various and resonate with other voices, didn’t have the type of voice technical instructions. The cho- so conductors often ask for they were looking for, but asked ral conductor is often dealing singers to sing without vibrato. my mum to take me to the with amateur ensembles and choir’s singing teacher, who got What are your main non- has to be something of a voice me to use my head (or treble) musical pastimes? coach. Orchestral conductors register for the first time. Sud- I'm not very good at exercise are dealing with many, many denly it was easy to get up to unless it involves mental stimu- instruments so they can’t be much higher notes – and I got a lation as well. Tennis and danc- technically advanced in all of place. ing are two ways to have fun them, but if you are conducting and keep in shape at the same Why Manchester University? just one instrument (the voice), time. With ballroom dancing I had two joint favourites: Man- it really helps to know a lot there's also the element of com- chester and Queens College about what’s going on. municating through music Oxford. I liked Manchester What do you want to do with which is what my life is built because it places equal empha- St Georges? around! Favourite dance? Hard sis on performance, musicology To take whatever I find and to beat the slow foxtrot. I love and composition. I’m lucky I help get it better. There is al- chess too. It’s mental torture didn’t get a place at Queens ways an objective standard you but the combination of creativi- because I don’t enjoy writing aim for, but you also have to ty and objectivity is fascinating. loads of essays, and I think that work with whatever people give if I had gone there I might have you (which is largely very good What choral work do you dropped out. I’d have had to do in the case of St George’s!). want to conduct above all, and an essay a week! Having conducted Cheshire do you prefer large or small Did you get a lot of conducting Consort a few times I think I choirs? experience? can help people with some tech- I would LOVE to conduct Ger- Yes! Manchester offers unparal- nical matters. I’m basically very ontius. Large choirs and small leled opportunities for students flexible, and will do whatever chamber groups each have their to conduct. I also had a stroke Neil wants me to do. advantages. Large groups mean of luck. Halfway through our What did you learn from the you can do things like Gerontius second year the professional NYCC Fellowship? (did I mention I like Gerontius?) choral conductor had to leave The Fellowship offers very well but small groups tend to have suddenly, and it was left in the -rounded tuition, but my eyes better singers and more detailed work is possible. Page 8 Hemiola

Despite repeated requests and reminders from the Editor for COSTA RICA: FINAL MEMORIES BY JO BLUCK Costa Rican photos and anecdotes by a certain date, one tourist still managed to ON MUSIC TOUR our heads right through to the was extraordinary to watch the miss the deadline. But it’s end. Mr Bluck – in the audience delights of hummingbirds. San José – bizarre and surreal on the first night – tells me that such a good summary of our rehearsal goes without saying – The swimming pool became the amazing trip, we’re printing it my smile was rictus-like. So getting back to the hotel and kind – but probably accurate. hang-out for cocktails for the anyway! finding the issues about book- back row of the altos and occa- ing in. Mr Bluck had been there Friendship day – a glorious sionally the MD – an impres- ahead of me so I did not have day, that I had been ever so sive sight and able to withstand to go through the arduous and – slightly dreading but don’t any attempt at takeover from now we know – long-winded know why. Memories? Swim- other vocal sections. I’m not procedure. He’d thought about ming in the rain – but getting sure if any water was splashed what I might need when I got out swiftly with the first flash of on aforementioned section’s in and, having heard about the lightning; Dave Francis unable bathing costumes, but Pete was water being shut off at 10pm, to speak due to excessive emo- impressively swimming with a had run a sink full of water so tion – is that how you spell plastic bag on his arm. that I could at least strip wash. beer?; the smells – the sun and Cloud forest hotel/Monte- (And those of you not having rain and fruit trees; the band – been sent to boarding school/ just fab!; the kindness of verde – the view from the room guide/scout camp – this is strangers – but they weren’t, waking up on the first morning merely washing upright with were they?; dancing with Susan – an azure blue sky with smat- some clothes on and being able Hodgson, who made me fall terings of cloud, overlooking to balance on one foot whilst about laughing when she the clouds that hid parts of the washing the other. bopped (or cha cha’d?) over to nature reserve below us. me smiling, and saying, ‘I think San José – the morning after Cloud forest – following a melt I’m going to have a heart at- -down on the fourth of the arrival. Jet lag woke me before tack’; the food – yum. Swimming in the rain, just swimming in 6am. I sneaked out the room bridges and slow retreat with the rain with swimming costume and ON TOURIST TOUR Steve Allen and Anne Francis, basic gym kit to explore for joining Dave Robson for a brief Walking through the dark rain- pool and gym. It was open but sob then coffee and cake. And forest close to midnight, in rela- completely deserted. I spent an then finding the hummingbird tive silence and simple torch- another surreal (but incredibly centre. The sense of joy after light, listening to the sounds of peaceful) 45 minutes stretching the sense of dismal failure was the forest animals and insects – out airplane-constricted limbs so extraordinarily restoring to and Pete Durrant quietly and whilst waiting for the official my morale, to have those small helpfully pointing out the large time when the notices advised I flashes of life dust my shoulder spider we were walking into… was permitted to use the pool. with their wings and then rest oh, how we shrieked. But in the I’d reached moderate serenity on my finger whilst they sucked silence on the beach, watching and was packing things up nectar. And then watching a turtle shifting sand, tirelessly when, across the water I saw more and more members of the protecting her young. And then the Director, clearly about to choir come into the centre, and standing in the murky dark, ignore any notice ruling. So at seeing their faces light up at the watching the sea glow as it charm of hummingbirds – yes, Staying awake in Alajuela stupid o’clock, without too caught snatches of light. much fuss, we swam and that is the collective noun – isn’t that wonderful! And Mr pounded out a few lengths be- Seeing the head of a river otter Bluck eschewing his misan- fore a morning rehearsal. Such pop up just after its bubbles thropic tendencies to share the is the way of choir tours. worked their way across the love of that charm. water – Ring of Bright Water San José – our concert in the memory shot. cathedral – like most of the Hot springs centre – darlings, what a lot of fun! The warmth choir probably, I was pretty A mother monkey with a baby of the water, the sense of adven- shattered and working out how clinging to her back, leaping ture (not knowing if it might be to keep my energy up for the across the high branches over your turn to injure yourself in full performance. I did not want us on the river – and the spot- the limited lighting), the sense to risk cat-napping in between ter, having seen it all before, of adults just playing like Blue our sections, whilst Pete per- with the shadow of a smile at Remembered Hills – and the buf- formed miracles on the elec- our excitement. tronic key board – possibility of fet was pretty good too! Mark being left sleeping – so kept my The Lodge – sitting on the bal- Warrington sliding down the eye on as much of the audience cony with Mr Bluck, rocking in slide again and again – and as I could see. And it was thrill- the rocking chairs and then emerging from the water with a ing to see their excitement at watching a hummingbird come sloth-like smile on his face each his performance. to feed at the flowers nearby. time! Could have been that back row of the altos leading Hummingbird with bee escort Not wishing to undermine the Concerts – performing the various LBJs (Little Brown him astray earlier… Laudibus – and trying to keep Jobs) in our own garden, but it Issue 56 Page 9

BY PETE DURRANT On 6 September 1997 Pete SONG FOR DIANA Durrant, now SGS accompanist, was a young I was heading off on holiday on funeral and walking back with all these familiar famous faces member of the Westminster the morning when she died. We armed police and sniffer dogs crying in front of me, I’m not Abbey Choir that sang at the were woken up by my aunt sweeping the cloisters. sure I’d ever seen an adult cry funeral of Diana, Princess of ringing to tell us the news but before that point. Wales. One of the works they decided to go away to our holi- We went back into the school sang on the day was Tavener’s day cottage in the Norfolk and all sat in front of the televi- Prince Charles had chosen the Song for Athene, which St Broads anyway, as we didn’t sion to watch the beginning of music and the strongest George’s Singers will be know at that point where the the procession of the coffin, memory from the day I have performing at our next concert. funeral was going to be held, or with William and Harry, Philip was singing Tavener’s Song for Here, Pete recalls a momentous day. when, or even if it was at West- and Charles walking behind it. I Athene. think really it was watching minster Abbey, whether or not Martin Neary, our I’d be needed. conductor, asked Somehow in an age be- the organist, Mar- fore the internet and tin Baker, to play mobile phones, West- the low F minster Abbey managed throughout the to find our contact de- piece on the ped- tails at the cottage, and als as our basses’ rang the cottage phone low F wasn’t loud telling us that I was re- enough for the quired to return. The broadcast, and I furthest away chorister remember in the was in Canada; he made loud bit towards it back in time but sadly the end, I was one for him, got a cough the of maybe three or day before and couldn’t four people hold- sing on the day of the ing the top F, giv- funeral itself. ing it all I had! those pictures that made me If you ever get a chance to The day was a crazy one, I realise the scale of it, with the think we were probably too watch any of it again (it’s all on thousands of people lining the YouTube) then I’m the one at young to take it all in, but as an streets and throwing flowers. 11- nearly 12-year-old, I felt I the far end on the conductor's understood the significance of Then the service itself, I re- side, so furthest away from the it. I remember rehearsing first member singing the national conductor! Decani 12! thing on the morning of the anthem in the nave and seeing

WHOSE SIDE ARE YOU ON? TAYLOR’S #TAGS

‘I could do with a few more Readers not well versed in the When translated into choral under the bishop was the prior; bottoms here.’ ancient terminology of cathe- terms, the Decani choristers he often sat on the liturgical drals may be slightly puzzled sing on the dean’s side of the north. Hence, in Durham Ca- ‘Sopranos – your Cossacks have by Pete Durrant’s final com- choir, whilst Cantoris sing on thedral, St David’s Cathedral, arrived.’ ment in his article above: the cantor’s side. Carlisle Cathedral and South- ‘Drones, just crescendo along as ‘Decani 12’. well Minster, decani is on the you are programmed.’ The association of the dean north. Architecturally, the two sides with the south side derives from ‘Tenors – which arrangement of of the cathedral choir are called the Sarum Rite, the liturgical the Vespers do you have? Is it ‘decani’ on the south side and practice used the Swingle Singers’ version?’ ‘cantoris’ on the north. The widely through- ‘Altos – take me to the banks of names mean ‘dean’s (side)’ and out pre- ‘cantor’s (side)’, and refer to Reformation the Volga!’ the two highest officials of the England and ‘Gentlemen – the work is already chapter of a medieval cathe- Wales. There finished. You don’t have to add dral. The cantor, or precentor, are some excep- more notes.’ is ranked immediately after the tions in monas- dean in secular cathedral estab- tic cathedrals, lishments. however, where I told you I was going to wear the blue and the senior cleric brown stripe today. You’re like all basses - you never listen! Page 10 Hemiola

BEETHOVEN’S FOUR-MINUTE FANTASY Our 2017–18 season is hour’s rehearsal one Tuesday concert, all drawn from the even busier than usual, evening with Neil during the choir, were particularly out- with no fewer than four summer was thought sufficient. standing, and produced some invitations to sing with beautifully blended and expres- orchestras and choirs. The The main rehearsal came the sive singing. Many congratula- first of these was on Sun- evening before the concert, tions to all of them: Gillian day 20 August, when St when we were conducted by Banks, Jo Bluck, Wendy Fla- George’s Singers joined Alun Jones, Chetham’s relative- vell, Andrew Charlton, Jona- Stockport Symphony Or- ly new Head (he joined the than Wright and Dave Morris. Some of St George’s Singers in the balcony at School in 2016). And as a The Stoller Hall chestra, conducted by Stephen Threlfall, in the (very) last-minute replacement, Both Alun and Stephen were new Stoller Hall in a per- our own Liz Jameson was ac- delighted with our perfor- formance of Beethoven’s companying us on the piano. mance. Alun made a point of Choral Fantasy. Brilliant job, Liz! Alun took us saying afterwards that the choir through the work in great de- was fantastic, and Stephen The invitation had come tail, but with enormous good wrote to Anne Francis: from our vice-president to humour and seemed to enjoy take part in Chetham’s the rehearsal almost as much as ‘I just felt compelled to drop a annual International Sum- we did! line to say thank you so much mer School and Festival for to you and everyone in the Pianists. The programme for The concert itself was a great choir for taking part yesterday – the concert was Beethoven’s success and for the choir im- and being so brilliant too! Piano Concerto no 3, plus his mensely rewarding. The new Please pass on my thanks to the Choral Fantasy, written for the Stoller Hall is a lovely space in choir members when you all which to sing, both visually and next meet and in particular to unusual combination of piano acoustically. The Choir was in the soloists. I hope everyone solo, chorus and orchestra. the balcony which surrounds enjoyed the experience and was With Chetham’s School stu- the stage: a good position from pleased to be part of the Beetho- dents all away from Manchester which to see the audience, ven expedition! for the vacation, Stephen asked though there was a slight sight- St George’s if we would like to line problem for the people in ‘I trust you also enjoyed spend- take part. the second row – choir folders ing the evening with Alun on Friday who I know loved being The Fantasy is not a long work in the front row tended to be back in front of a choir and – after waiting 23 minutes for exactly in line with the conduc- making friends with you. the orchestra and pianist to do tor, necessitating some last- their thing, the choir sings for minute shuffling and folder ‘Warmest thanks once more the final 4 minutes! – so an bobbing. The soloists for the and Bravo St Georges !!’

Overheard by a choir member A SINGER’S GLOSSARY (PART TWO) on a recent cruise along the Danube: ‘We have a couple of Chest voice: Also known as Diction: The clear pronuncia- (channel to stomach) from the more mature altos who’ve ‘chest register’. The lower notes tion of words. This requires functioning of your trachea recently moved down a part. of a singer’s range; in the same attention to both consonants (channel to the lungs). We call them our “Tena” general range as the speaking and vowels. Different types of ladies.’ voice. When singing in the music may require more or less Exercise: In singing, a device (a chest voice, the vocal cords diction; for example, in musical note or sequence of notes sung become naturally thick, and the theatre, it’s essential that the in a certain manner) used to resulting sound is generally audience understand the lyrics, condition and/or strengthen associated with deep, warm but in jazz or blues, the singer your vocal muscles to work tones. Achieved by using reso- may occasionally slur words on with the proper airflow. nance and voice placement. purpose in order to achieve a Falsetto: (false singing) In male desired sound. Good diction singers, a high register Consonant: A speech sound helps produce good sound, produced as the result of a tem- (actually, sung in the female however, so all singers should range) similar to the head voice. porary partial or complete con- pay attention to it. striction of airflow (eg b,d,f,g,l). However, unlike the head Dynamics: The variations of voice, falsetto cannot blend Diaphragm: The dome-shaped soft and loud singing in a given with the chest voice. Females muscle attached to the bottom song. can also sing in a falsetto range: of the lungs that separates the it has a ‘Minnie Mouse’ sound chest and stomach cavities. Its Epiglottis: The leaf-like carti- about it. main function is to initiate in- lage that separates the function- halation. ing of your oesophagus Issue 56 Page 11

ST GEORGE’S BY CANDLELIGHT Saturday 9 December 2017 St George’s Church, Stockport ‘Carols and Brass by Candlelight’

Our traditional carol from Chetham’s yet finalised the St George’s Singers concert this year re- School of Music pro- programme for the Conductor Neil Taylor Organ Pete Durrant turns to St George’s vide the entertain- concert, but you Church in Stockport, ment: the Jack Brad- can be Bradshaw Hall Primary School where we will once ley-Buxton Quintet certain it Choir more be joined by the chil- and the Nuta Quartet. will Chetham’s Middle School Brass dren of Bradshaw Hall They’ll be playing a include Ensembles Primary School, selection of Christmas music, as some (if not all) of who never well as accompanying the choir your favourite Tickets: £12, conc £10, fail to bring and audience. carols. students/children £3 alive the spir- Tel : 01663 764012 it of Christmas As usual mince pies and The lighting of mulled wine will be served the candles and the dim- Email: tickets@st-georges- for young and singers.org.uk old. at the interval, ming of the lights at the start along with special- of the concert always bring a Online: www.st-georges- This year we are par- ly baked biscuits special atmosphere to the singers.org.uk ticularly delighted to welcome for the children. evening. Please come and some new young musicians to join us. the event, when two enormous- Musical Director ly talented brass ensembles Neil Taylor hasn’t

MESSIAH AT NORBURY

St George’s Singers will be 2013, members of the Consort putting on an extra concert this have performed a variety of year: Handel’s Messiah on Sat- solo and ensemble recitals at urday 13 January 2018. Turton Tower, a Grade I-listed Tudor manor house in Lanca- Most performances of Handel’s shire, from which the Consort great oratorio are given either takes its name, and other loca- just before Christmas or at tions around the North West. Easter. But the weeks following The Consort is used to perform- Christmas are usually so ing to the highest calibre, equal- gloomy (meteorologically and ly accomplished in repertoire temperamentally!) we decided from the medieval and renais- that hearing glorious and uplift- sance periods right through to ing music is just what is needed modern and contemporary to revive the spirits. works. The performance will as usual Recent engagements have in- Members of The Turton Consort course our current assistant be conducted by Neil Taylor, cluded performing at the launch MD. with Graham Eccles on the of the Whittingham Lives pro- organ, and soloists are all ject at UCLan, Preston and Handel’s Messiah is a work members of The Turton Con- opening the Raimondi exhibi- written on broad canvass, as Saturday 13 January 2018 sort, a professional vocal en- tion at the Whitworth Art Gal- befits the narrative that de- Norbury Church, Hazel Grove semble founded by Joe Judge, lery, Manchester. The Consort scribes the birth, life and death Handel Messiah formerly St George’s Singers’ regularly sing live on Radio 4 of Christ. The Choir last per- St George’s Singers assistant musical director. for the BBC Daily Service, and formed it in the vastness of Conductor Neil Taylor The future plans include a collabo- Gorton Monastery. We think Organ Graham Eccles Turton ration with The Vine Quartet, the smaller and more intimate The Turton Consort

Consort featuring Tavener’s The Bride- space of Norbury Church will was groom and music by Bach. bring a different but no less Tickets: £12, conc £10, formed enthralling dimension to the Four members of the Consort students/children £3 of sing- occasion. will be taking part in Messiah: ers who Tel : 01663 764012 soprano Leonie Maxwell, coun- studied Email: tickets@st-georges- tertenor Joseph Judge, tenor in Man- singers.org.uk Ranald McCusker and baritone chester. Online: www.st-georges- Robert Brooks – who is of Since singers.org.uk

St George’s Singers

For more information, please contact:

John Smith (Chair), 01422 359073 [email protected]

Jacqui Smith (Secretary), 01625 875437 [email protected]

Susan Hodgson (Hemiola Editor) [email protected]

Jean Egerton (Publicity), 01625 871371 [email protected] St George’s Singers was formed in 1956 by Rev Eric Chapman and Geoffrey Ver- 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 Find us on the web at: died in 1964, but his legacy was nurtured by his successors Duncan Eyre, Ray Lomax and Stephen Williams, and is continued by our present Musical Director, www.st-georges-singers.org.uk. Neil Taylor.

St George’s Singers is recognised as one of the leading and most innovative choirs in the North West of England, performing an astonishingly varied repertoire, and Hemiola is sent to all Friends of St George’s with around 100 members drawn from an area far beyond the community of Singers, and a digital version goes to those on Poynton. We present at least four major concerts a year, in venues including The our Mailing List. To receive a regular copy, Bridgewater Hall, Gorton Monastery, The Stoller Hall, Manchester Cathedral and complete the Mailing List registration on the Royal Northern College of Music, hold annual Singing Days, and tour regularly in website, or contact the Publicity Officer. the UK and abroad. St George’s Singers continues to explore and expand the boundaries of choral music, 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 ST GEORGE’S SINGERS at any time. CONCERT DIARY 2017–18

20 August 2017 Beethoven Choral Fantasy MANCHESTER SINGS!

21 October 2017 Rachmaninov Vespers Thursday 19 October 2017 Saturday 18 November 2018 To book a place: 1.10-2pm St Edward’s Church, Leek • fill out the application form 9 December 2017 Martin Harris Centre, Oxford on St George’s Singers web- Come and Sing Carols & Brass by Candlelight Road, Manchester site (www.st-georges-

Handel’s Messiah 11 December 2017 singers.org.uk), or The Turton Consort sings Conductor Pete Durrant • email stgeorgessinging- John Rutter’s Christmas Monteverdi’s Madrigals Book Organ Ian Riddle Festival IV (1603) [email protected], or £10 to sing • tel 01925 213949. 13 January 2018 Entry free Rehearsal in morning and even- Homemade soup and rolls Handel Messiah ing, with concert early evening. (lunch) and cake (tea) will be Saturday 11 November 2017 20 January 2018 available on the day. 10am-4.30 pm Saturday 20 January 2018 Singing Day - Haydn Creation Hallé St Peter’s, Ancoats, Our Singing Days always sell St George’s Singers’ Singing out – so book early! 17 March 2018 Manchester Day: Haydn Creation, Parts 1

Music for Passiontide Hallé Choir Workshop and 2 Sunday 28 January 2018 St George’s Church, Poynton 23 June 2018 Bach B minor Mass Manchester Grammar School Conductor Matthew Hamilton 9.30am register, concert 6pm. DurufléRequiem

Brahms’ German Requiem in aid £22 to sing, including music (£5 5 July 2018 £32, including music hire of CLIC Sargent, conducted by students), £5 audience. Elgar The Music Makers Apply by 31 October online at Rob Carey. £30. The day will be conducted by http://www.halle.co.uk/the- Rehearsals from 10 January. halle-family/halle-choir/ SGS Musical Director, Neil Ticket Hotline: 01663 764012 Taylor, with Pete Durrant ac- To book a place, email [email protected]. [email protected] companying. Soloists are members of The Turton Consort. www.st-georges-singers.org.uk