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CHORAL WONDERS a 40Th Anniversary Concert Schofield: Stream of Life – World Première Plus Best of Byrd, Towering Tallis, Vibrant Victoria and Macmillan’S Miserere Mei

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CHORAL WONDERS a 40Th Anniversary Concert Schofield: Stream of Life – World Première Plus Best of Byrd, Towering Tallis, Vibrant Victoria and Macmillan’S Miserere Mei Honorary President Raymond Calcraft Conductor Peter Gambie and Karen Kingsley – Piano Present CHORAL WONDERS A 40th anniversary concert Schofield: Stream of Life – World Première Plus Best of Byrd, Towering Tallis, Vibrant Victoria and Macmillan’s Miserere Mei Saturday 16th July, 2016 7.30 pm Church of the Holy Spirit, Southsea Welcome from Peter Gambie Conductor since 1992 I’ve had a passion for Renaissance music from around the age of twelve, so a phone call back in 1992 asking me to conduct a concert with the elite Renaissance Choir was a golden opportunity. Not much later, I was to audition for the permanent conductor’s post and I went through an evening of exquisite agony and ecstasy – agony as each member held pencil and paper to judge the candidates’ rehearsal skills, and ecstasy as I realised the empathy between us was astonishing. Never before had I conducted a choir which was so talented and so responsive to my interpretation. I fell in love with the choir then and, 24 years later, that love continues unabated. In 1993, we visited Prague. Our very uncomfortable 24-hour coach journey was enlivened just once when the driver fell asleep at the wheel! On this trip, I recall experiencing the family atmosphere of a group of very supportive, close friends for the first time. That characteristic has prevailed over the years and is a real strength; new members have often remarked on how welcoming everyone is. The choir has always really enjoyed a challenge. For many years, performance standards have been exceptionally high for an amateur group and frequently match the achievements of (professional) cathedral choirs and their ilk. This doesn’t happen by accident and is only achieved by the astonishing commitment to practising by the singers. Allegri’s Miserere Mei and Barber’s Agnus Dei were two of our early “Mount Everests” – but these now seem like gentle hillsides when compared with some of our recent repertoire of Poulenc, Tallis and MacMillan. Singing Tallis’s 40-part Spem in Alium in Hungary in 2006 was one of our ascents of this particular Everest. This was a joint performance with the Budapest Monteverdi Choir. This world-class choir sang 15 out of the 40 parts, leaving the lion’s share to us. The conductor of this world-class choir was astonished at the standards of RC members and was also very complimentary about the passionate performances which we gave. Being able to sing with choirs from other countries has been a feature of our many international tours and is always very rewarding. Invariably, we note that the international language of music transcends barriers of language, culture and politics. 2 The choir’s passionate sound has been one of our hallmarks. Renaissance music is often sung with a gentle reserve, with many conductors feeling it to be an appropriate interpretation. My view, RACHMANINOV which is shared by choir members, is that VESPERS such a commonly-held belief is mistaken. Much of tonight’s programme is enthusiastic or celebratory: music where gentle reserve is simply not the best method of conveying the composer’s intention. We also focus heavily on blend and balance in order to produce a sound which some audience members have likened to The Sixteen. More recently, Conductor Peter Gambie RACHMANINOV PRELUDES choir members have been developing Karen Kingsley piano Venue - St Peter’s Church, Petersfield advanced interpretation skills. The Saturday 24th October at 7.30pm empathy which I mentioned in my first Tickets £12, £10 (conc) and £2 (students) available from One Tree Books, by telephone to paragraph is now almost as strong as 023 9247 5259, online from www.renaissancechoir.org.uk or on the door. mind-reading, with a unique, single- minded interpretation being the result. Peter Gambie with Ian Schofield The choir has received many local and international plaudits. In 2014, we were delighted to be awarded Best Classical Act by The News. Our recent tour to Rome (which included singing in the Vatican) and to Palestrina Cathedral was received with deep gratitude and respect from the internationally renowned Palestrina Foundation, who are effectively responsible for the continued survival of the music of the “father” of Renaissance music, G. P. da Palestrina. It is both our privilege and founding principle to ensure the continued flowering of the beauties of Renaissance music. 3 The origins and early days of The Renaissance Choir by Raymond Calcraft – Founder Conductor (1976-86) and Honorary President Considering the bizarre or even frankly rather pretentious names adopted by some present-day musical groups - ‘The Tallis Scholars’, ‘I Fagiolini’, ‘The Cardinall’s Musick’, ‘Stile Antico’, ‘Orchestre Révolutionnaire et Romantique’ - the decision by a group of singers in 1977 to name themselves ‘The Renaissance Choir’ would seem at first glance to have been admirably straightforward and unambiguous. During its first year, from 1976-77, the choir was known as ‘The Highbury Singers’, but only because the newly formed group had found a rehearsal venue at Highbury College in Portsmouth. But both the venue and the name were temporary, and when a definitive title for the choir had to be decided upon a year later, various possibilities were discussed before a new name was suggested and agreed. Given that it was necessary to find a name that was not already used by another choir, we were delighted to discover that (in 1977) the only other ‘Renaissance Choir’ in existence, as far as we were aware, was in Canada! But ‘The Renaissance Choir’ as a title meant more than a rebirth of a group which had existed under a different name only for the previous twelve months. Nor even that its founding members had mostly come from the Havant Choral Society, where many had sung for several years. The new name indicated the intention of both conductor and singers to place the music of Renaissance composers at the heart of its repertoire, together with works inspired by the renewed interest in and appreciation of that music during the 19th and 20th centuries. So works by Palestrina or Heinrich Schütz would soon be heard beside those of Bruckner or Manuel de Falla. I had the great privilege of conducting the Choir from 1976 to 1986. There were concerts throughout the Portsmouth area, of course; an Oaklands Messiah with the Bournemouth Sinfonietta; excursions to London, Oxford, and Derby (in a snow- storm!); and two concert tours to Spain. Both the 1979 tour of Andalucía and the 1983 circuit of Castile and Extremadura were remarkable for the warmth of the receptions we received everywhere. Vivid memories of those tours include standing in the open air to take part in a Good Friday ceremony in Salamanca, or the sight of a thousand people or more listening to us sing Guerrero in Granada Cathedral. The most high-profile events of the decade were the appearances at the Queen Elizabeth Hall in London, first in 1983, and then in the Joaquín Rodrigo Festival in 1986, when we gave the world première of the Cántico de San Francisco de Asís. 4 Having performed that work since on several occasions, with both Spanish and English choirs, and in Madrid and Barcelona as well as in this country, that first- ever performance set a standard by which I felt all others had to be judged. My last concert with the Choir took place in 1986 at St John’s Cathedral in Portsmouth, where the programme included Palestrina’s Sicut cervus and Schütz’s Ich bin ein rechter Weinstock. The second half was devoted to the Fauré Requiem, and it was fitting that the two soloists should have been the same ones who had appeared in the first concert by ‘The Highbury Singers’, ten years before. It is a delight for me to be with you on the occasion of The Renaissance Choir’s 40th Anniversary. My warmest congratulations on achieving this remarkable milestone in your history. And may you continue to bring pleasure and inspiration to your audiences for many years to come. 5 Renaissance Choir trips 1976-2016 Abroad UK including ‘away-days’ Date Destination 2016: 28.5 – 4.6 Italy : Rome + Palestrina 2014: 24-31.5 Spain: Coruña + Betanzos + Santiago de Compostela 2013: 4-6.10 Gloucester + Highnam Church, Cricklade 2011: 11-12.6 Exeter + Stockland 2010: 6.11 Brighton: Unitarian Church (Brighton Festival) 2010: 10.7 Arundel Cathedral 2010: 30.5-6.6 Poland: Krakow + Mogila + Kazimierz + Wieliczka 2009: 2.8 Arundel Cathedral 2009: 29.5-31.5 Bath, Bathwick, Compton Dando 2008: 25-31.5 Portugal: Lisbon + San Roque + Alcobaça + Pedreira + Sintra 2007: 27-28.10 Canterbury + St Paul’s, St Peter’s 2006: 27.5-4.6 Hungary: Budapest + Szentendre + Gödöllö + Székesfeherva 2005: 28-29.10 Battle in East Sussex 2004: 30.5-5.6 France: Chartres, Versailles, Maurepas, Paris 2003: 25-26.10 Wales, Brecon Beacon 2002: 19.10 Romsey Abbey 2002: 20.4 Southampton, St Michael’s Church 2002: 27.3-3.4 Spain : Javea + Alcoy + Valencia 2001: 30.6 Arundel Cathedral 2001: 26-27.5 Devizes, Edington Priory 2001: 10.3 Winchester : St Peter’s 1998: 24.8 Winchester : St Cross (+ choir from Bari, Italy) 1999: 2-6.4 Italy : Bari + Lecce 1999: 20.2 Isle of Wight : Ryde – Holy Trinity 1998: 8.8. France : Carentan 1998: 19.4 Norwich : Wymondham Abbey + Bungay + Hingham 1997: 24-28.5 France: Carentan, La Haye-du-Puits, Valognes, St-Germain-sur-Ay 1996: 25-26.5 Gillingham + Yeovil – Whitsuntide concerts 1995: 13.8 Wandsworth, London, St Michael’s Church 6 Date Destination 1995: 27-29.5 France : St Aubin + Honfleur + Caen 1994: 15.10 Beaulieu Abbey recital 1994: 29.5 Cheltenham, Gloucester, Hartpury, Bourton-on-the-Water
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