March 2020 Issue 63 Hemiola

St George’s Singers

S PECIAL GIFTS

INSIDE THIS ISSUE: Through the centuries, children with precocious talent have been viewed as remarkable Special Gifts 1, 4 & 5 individuals, lauded and mar- velled at, leaving lesser mortals Simple Gifts 2 & 3 in awe. A child prodigy is gen- erally defined as ‘a person un- der the age of ten who produces Veljo Tormis 4 meaningful output in some domain to the level of an adult Mozart & McDowall 6 expert performer.’ Just as in Amadeus & Hamilton 7 other realms in which special Festive Frolics 8 talents are spotted early, in Singing Day 2020 9 classical music, audiences are astounded when children can Tales from the Choir 10 & 11 master the same piece as some-

one at least double their age.

Manchester Sings 12 In April 2018, ten-year-old Christian Li became the young- est ever winner of the Junior Section at the prestigious ST GEORGE’S SINGERS Menuhin competition. In 2002, Jennifer Pike received fourth © yourclassical.org PRESIDENT: prize in the same category, later The young Johannes Brahms Marcus Farnsworth MA ARAM in the year becoming the youngest competitor to ever VICE PRESIDENTS: The composers of the pieces portive, but at some point mon- win the BBC Young Musician included in our March concert ey was short, so the young Sasha Johnson Manning of the Year award. Her musical were all considered to have Johannes was sent to earn his Stephen Threlfall trajectory was carefully man- Stephen Williams early talent: maybe not keep playing piano in Ham- aged by her music teacher fa- ‘prodigies’ to the degree of burg waterfront establishments, ther and she had a balanced MUSICAL DIRECTOR: Mozart, Boulanger or Ar- probably of ill-repute, where childhood that mixed perform- gariche, but possessing an early his father had worked in his Neil Taylor ing with other interests such as desire and dedication to excel own youth. tennis and writing. and live in the world of music. ASSISTANT MUSICAL DIRECTOR: These places may have been a Robert Brooks Others are not so fortunate. Johannes Brahms, a prominent bit of a lark to his father. They Media interest can do them a figure of the Romantic period, were not to Johannes. He was ACCOMPANIST: great disservice; the temptation was born into relative poverty. delicately pretty; in later life he Peter Durrant for promoters to exploit young Son of a musician and seam- hinted at what happened in talent is great but feeds on stress, Johannes was taught those places, talking about it ‘celebrity’ culture where young piano and violin by his father with anguish and a fierce pride, Registered Charity no 508686 children can be built up and and had possible started writ- for having survived. It steeled then ‘spat out’. Consider the Member of Making Music, the Na- ing his own music at the age of him; he reached maturity tough tional Federation of Music Socie- fate of ‘voice of an angel’ Char- six. By the age of 13, he was as nails but susceptible to the ties lotte Church, tortured by tab- already a phenomenon, with damage it had caused. loids when she began falling out his teachers predicting great www.st-georges-singers.org.uk of nightclubs. things. His parents were sup- » Page 4

Page 2 Hemiola

Saturday 28 March 2020 IMPLE IFTS St Michael and All Angels Church, S G St Michael’s Avenue, BRAMHALL B RITTEN AND C OPLAND

Simple Gifts In the spring of 1939, with the its original instrumental Brahms Liebeslieder Walzer threat of war on the horizon, com- flavour and occasionally Britten Choral Dances from poser and his rewriting text to eliminate

partner, the tenor Peter Pears, specific dialect; he ex-

Copland Old American Songs boarded a boat from England plained, ‘I did not want to .gov Tormis Estonian Lullabies bound for North America. They take any chance of it would not return for three years. being construed as racist.’

Intended originally as a short visit, In 1952, the songs were Conductor Neil Taylor their trip was extended through a published individually, Accompanists Pete Durrant & Tim combination of Britten and Pears’ having been transcribed

Kennedy noted pacifism and Britten’s blos- for chorus in various congress of © library soming career in the United voicings by Irving Fine, Aaron Copland with Benjamin Britten circa 1950 Tickets: States. During his temporary and an arrangement for £13, £10 concessions, residence in America, Britten voice and small orchestra was com- resurrection of this once-forgotten £7 students/children, group became close friends with com- pleted by Copland in 1954. Since Shaker melody raised it to the prom- poser Aaron Copland, who he their initial warm reception, the inent role of an American anthem. discounts had met in London the previous songs popularity has grown, due to year, attending the International the wide range of American histori- After the success of the first set, Tel : 01663 764012 Festival for Contemporary Music. cal themes that they embrace. Copland opened the second set , published in 1952, with the South- Email: tickets@st-georges- The two hit it off immediately and ern lullaby The Little Horses, recorded an invite from Britten to his home When, Britten and Pears sailed to North singers.org.uk by folklorists John and Ruby Lo- Online: www.st-georges- in Snape Maltings was accepted America, the position of pacifists in by an enthusiastic Copland. max in 1939. Copland also rewrote singers.org.uk Europe was becoming more precarious the bouncy minstrel song Ching-A- Copland was one of several major and Britten was reeling from hostile Ring Chaw, with its banjo inflec- press reviews of his music. Their international composers in the tions, to create a ‘milk and honey’ early 20th century who collected relationship evolved and, from then on, image of Paradise alongside rhyth- and transcribed folk music, often they were partners in both their mic nonsense syllables. The final integrating it into their own crea- professional and personal lives. piece in the second set, this ‘fun’ tions. Copland was also interested song can so easily trip up unpre- in preserving hymns, Native pared singers with its sudden stops, “…a visit to Snape…the excitement of American melodies and African- unexpected rests and subtle changes exchanging ideas with a new-found American spirituals. Some schol- to supposedly repeated words. composer friend, twenty-four year old ars categorise portions of Cop- Also included in this second set is Benjamin Britten…A few days before land’s work into an ‘American’ The Golden Willow Tree, arranged to [the performance by Sir Adrian Boult] I period, initiated by his desire to had heard my first Britten piece…the create distinctively American be performed ‘with gusto’ and tells a

tale of betrayal and loyalty at sea. It

delight at the technical adroitness and classical music. Fanfare for the instrumental wizardry of that early Common Man, as well as his two was based on an Anglo-American composition is still vivid in my memory” sets of Old American Songs from ballad known as The Golden Vanity. 1950 and 1952 are prime exam- In 1966, Britten also used this ballad Aaron Copland on meeting Benjamin ples. for a commission from the Vienna Britten Boys’ Choir; they asked for a vaude- It was later in their transatlantic ville work! They performed it for the

relationship, in 1950, that Britten Library Pears © Britten first time at the following year’s and Pears commissioned Copland Britten (left), Copland and Pears (right) Aldeburgh Festival, in the new to arrange a set of American folk The famous melody found in the concert hall at Snape Maltings fol- songs that they could perform at fourth song of the collection, Simple lowing its official opening. Britten Britten's Music and Arts Festival Gifts, was a favourite song of the worked with Colin Graham on the in Aldeburgh. Copland obliged Shaker sect, dating from 1837-1847. libretto of what is in effect a small with an arrangement of five tradi- This tune would have been familiar opera, known by Graham as ‘a tional American songs scored for to most audiences as the Shaker miniature ’. The story is voice and piano: The Boatmen's melody featured prominently in of battle at sea. A cabin-boy ensures

.gov Dance, The Dodger, Long Time Ago, Copland's ballet Appalachian victory for the crew of The Golden Simple Gifts and I Bought Me a Cat. Spring (1944) in a powerful set of Vanity by drilling holes in the pirate The cycle was premiered by Brit- variations. In his scoring for the ship they are fighting and sinking it. ten and Pears on 17 June 1950 in voice, however, Copland gave the His captain reneges on his promised England, while William song a recitative-like quality by incor- reward (the hand of his daughter) Warfield (with Copland at the porating an accompaniment placed and leaves the boy to drown. But © library of congress of library © piano) gave the first American on weak beats, ensuring that this the spirit of the boy returns at the Part of a letter from Copland to Britten, performance on 28 January 1951. version of Simple Gifts would be sung end of the piece. Copland gave each song his per- giving thanks for his stay at Snape without a regular rhythmic pulse. His » Page 3 Maltings in 1938 sonal musical style while retaining Issue 63 Page 3

Four Estonian Lullabies S IMPLE GIFTS Veljo Tormis was 14 when the Estonia Soviet Republic was created in 1944. The country had been occupied by Russians or B RITTEN AND C OPLAND CONT Germans since 1940. As a composer, Tormis was Russian-trained but he man-

aged to avoid official censure whilst main-

« Page 2 Nevertheless, he sanctioned taining creative integrity. Initially his work

parts of the score for use in included music of all forms, but a rare visit

In 1953, three years after the concert performances. The set to Hungary in 1962, gave him the oppor- premiere of the Old Ameri- of six Choral dances from Gloria- tunity to buy scores by Bartók and Kodály. can Folk Songs, Britten’s na’ takes place during a col- From then on, his output was almost opera, Gloriana, was first ourful masque at Norwich’s exclusively folk-influenced choral music. performed at a gala event at Guildhall attended by Queen The four Estonian lullabies that we will be House, Elizabeth I during a royal singing in our concert were first introduced

Covent Garden, in the progress, intended to combine to the Choir by Stephen Williams and sung © Royal Collection Trust Collection © Royal presence of Queen Eliza- © commons.wikimedia.org.uk vivid pageantry with a hom- in a small rural Estonian church in front of beth II, in honour of whose Queen Elizabeth I and Queen Elizabeth II in coronation robes age to Elizabethan song and Veljo Tormis himself. coronation the work had dance. been composed. Featuring a young Geraint Evans for These soothing, unembellished songs whom the role of Lord Mountjoy was created by Brit- Soprano Susan Bullock, writing in The Guardian in have both charmed and challenged the ten, this three-act opera was based on Lytton Strachey’s 2013 ahead of her title role in the opera, supported the Choir. The melodies are pure, often start- Elizabeth and Essex: A Tragic History. The poet Edmund opera. ‘Sadly the work has always been stigmatised by ing with traditional lulling or calling for Spenser penned the name ‘Gloriana’ in his poem The [the gala audience’s] lacklustre reaction, and even sleep. Some sounds are at odds with more Faerie Queene. though Britten wrote that the young Queen had in fact anglicised lullaby phrases; we welcomed been "delighted and flattered" by the private perfor- an expert to rehearsal before the concert, Although the general public flocked enthusiastically to mance of the piece given at the home of Lord Hare- to hone our pronunciation! the early run performances, the opera was harshly treat- wood before the official premiere, and that subsequent ed in the national press; critics sceptical of the compos- Based on and Estoni- performances were…enthusiastically received, the com- an stitch pattern, lace er’s meteoric rise to fame were delighted that the audi- poser felt "kicked around" by the initial response to Glo- ence of dignitaries at the gala premiere was baffled by triangles sway back riana.’ Bullock also draws specific notice to the writing and forth between the work, and offended by its portrayal of an ageing for chorus, describing the Choral Dances as purled garter stitch to monarch, a sympathetic but flawed character motivated ‘exceptional…some of the most stunning moments in create a soothing by vanity and desire. Subsequently, Britten made little the opera’. blanked called an attempt to promote the opera and it only became estab- Estonian Lullaby Baby lished in the mainstream operatic repertory many years As common parlance goes, no pressure then. Blanket. after his death.

B RAHMS’LIEBESLIEDER DAVID BRODBECK

Brahms's Liebeslieder Walzer, Op 52, Brahms conceived of the Liebeslieder The Liebeslieder Walzer, in short, are play an integral role in a [type] of as pieces of genuine Hausmusik quintessential Brahms. Though their ‘Schubert project’ that occupied the [music for the house]...The texts of charm may derive in part from the composer during his first decade in the Liebeslieder are East European contrast in which they stand to his Vienna. Brahms edited a number of folk poems in translations by Georg work as a whole, their eternal Schubert's unpublished Friedrich Daumer. As we might freshness stems from technique compositions at this time, expect, Brahms's settings are hardly refined in larger forms. As Ernest including...one book of 12 the ‘trifles’ described by their self- Newman, the British critic and Ländler...and a second of 20 Ländler effacing composer in a note to his Wagner biographer put it, ‘had Whatever its precise provenance, by in May 1869. To each he quickly publisher. True, the first piece (Rede, Brahms never been stretched to the mid-19th century the Ländler was responded with a cycle of his own... Mädchen) begins simply, with ‘oom- tension of such works as the C- established as a clear type of music: [including] Op. 52 Liebeslieder pah-pah’ vamping. But the music minor Symphony and the , an unpolished country cousin to the (marked… ‘Im Ländler-Tempo’) in rapidly becomes more sophisticated, he could never have relaxed to the sophisticated Viennese Waltz. 1869. as Brahms eschews literal charm of the waltzes.’ This image Ländlich means ‘rural’, and the repetition...in favour of continual tells a familiar story; an For all their Schubertian Ländler was seen by many as more variation. Most striking, perhaps, is uncompromising composer who wholesome than the waltz. background, however, the vocal the return of the original tune in free brought the highest artistic waltzes reflect a more contemporary inversion twice later in the piece, sensibilities to every expression of When Maria and the Captain source of influence as well. From with corresponding changes in the his muse. danced in The Sound of Music, it time to time Brahms drew counterpoint of the accompaniment. was not a true landler despite the inspiration from...Johann Strauss Jr. The first waltz thus contains within David Brodbeck (PhD) is a title of the scene. It was in fact a Thus, Am Donaustrande, da steht ein itself a striking contrast between musicologist at University of series of steps strung together by Haus, Op. 52 No. 9, seems indebted popular and art music, and California at Irvine and a the choreographers to make the to the beloved Blue Danube Waltz, throughout the rest of the work these contributor to The Compleat dance more interesting and more not only for its essential imagery, but opposing forces are played out with Brahms. challenging to perform. perhaps for certain musical details as a sure hand. well. Page 4 Hemiola

SPECIAL GIFTS CONT

« Page 1 ever, Aaron was still trying to In January 1925, Copland’s establish his own style in music. Symphony for Organ and Or- He became self-critical in later chestra was premiered by the life, judged his early composi- When I speak of the gifted listener, NYSO. A Boston performance tions harshly, and burned all I am thinking of the non-musician followed in February. The three work written before the age of primarily, of the listener who in- -movement composition, with 19, including at least 16 string tends to retain his amateur status. fluid harmonies and Stravin- quartets. It is the thought of just such a skian, irregular rhythms, re- In more mature years, this listener that excites the composer ceived mixed reviews. Even .gov perfectionism was coupled in me. Walter Damrosch, the conduc- with a fierce protection of his Aaron Copland tor of the NYSO was uneasy, often tempestuous private life. famously remarking to his audi- His professional and personal ence, ‘If a young man at the age relationship with both Robert He chose to not share with of twenty-three can write a and Clare Schuman is well Goldmark many of his more symphony like that, in five © library of congress of © library known; when Johannes was daring and original composi- years he will be ready to com- Aaron Copland at ag 6, 1907-1908 just 20-years old, Robert ac- tions. An article in Musical mit murder.’ Aaron had found tively promoted the young America drew Aaron’s attention his voice. to a summer school for Ameri- composer’s work in written Like Copland, Benjamin Brit- can students at the Fon- publications. However, the ten’s mother was musical; tainebleau School in Paris under complicated relationship be- Edith Britten’s ambition for the tutelage of the French music tween Clara Schuman and him was to become ‘the fourth teacher Nadia Boulanger. A Johannes is not fully under- B’, after Bach, Beethoven and Copland family conference stood, largely because they Brahms. He was the only one of eventually agreed to his travel; burnt a large number of per- his siblings who showed an he and they pooled available sonal letters to each other. extraordinary musical talent. funds and off he went. Aaron Copland, born in 1900 Edith gave him his first piano in Brooklyn, New York to Aaron had no doubt that he lessons and he made his first Russian-Jewish parents, was wanted to spend a year in Eu- attempts at composing at the the youngest of five children. rope but correspondence with age of five, a song, Do you no Aaron’s mother was musical others would suggest that he that my daddy has gone to London but it was his sister, Laurine, a had qualms about learning com- today? position from a woman. To his student at the Metropolitan The Britten-Pears Foundation knowledge, no woman had Opera School, who gave the have curated the treasure chest done this before! young Aaron his first piano of manuscripts left by both lessons and also Britten and Peter encouraged him in Pears, tracing the his early career. emergence of his tal- “In truth, the one commonality At the age of ent. Aged six, he found across all cases of eight, Aaron start- penned a song (for prodigious children is not the ed writing songs, voice and piano presence of extraordinary and, at the age of again) The Rabbit

Stand Around and Hold intelligence, innate talent, eleven, he com- the Lights. It is difficult genetics, or even types of posed his first to perform, not due to parenting, but extraordinary notated music for an opera scenario its complexity but to desire, and the dedication it inadequate technique; allows them to bring to their in between taking turns to help out the vocal line is at chosen field of study. odds with the piano. in the family de- © www.britten110.org It is the work of a Blake Madden, 5 March 2017, partment store. Benjamin Britten as a young boy on his mother’s knee, surrounded by precocious child strug- siblings 1913-14 Article Extraordinary Desire: How In order to progress gling to write music. Child Prodigies are made. without formal At the age of 10, he training, he began to learn He soon found his misgivings was taken to a concert by his harmony via a correspondence groundless, and developed a then piano teacher, Miss Ethel course. Eventually he took deep admiration for Boulanger, Astle. Benjamin reported in piano lessons with Leopold an organist who possessed an later life that he was ‘knocked Wolfsohn, who taught classi- encyclopaedic knowledge of sideways’ when he heard Frank cal music forms. At 16-years music. In turn, Boulanger ac- Bridge conduct his own compo- old, Aaron went to Manhat- tively promoted the young com- sition, the suite The Sea. tan, to study under Paul poser, approaching conductors Goldmark, who taught him of both the Boston Symphony In his early teens, Benjamin the fundamentals of counter- and the New York Symphony collected as many orchestral point and composition. How- Orchestra (NYSO). » Page 5 Issue 63 Page 5

SPECIAL GIFTS CONT Soft-spoken and modest, Veljo Tormis described his compositions as keeping alive « Page 4 the memories of ancient scores as he could find or his parents afford. At peoples, whose cultures and 13-years old, he wrote his first symphony, 117 languages have long since died. pages of full score for a vast orchestra. At 15, he had a letter published in Musical Times about “It is not I who makes use of folk Beethoven’s Cello Sonata in C. Whilst at board- music. It is folk music that ing school, the 16-year old Britten wrote the makes use of me,” he was impressive A Hymn to the Virgin: one group sings quoted as saying on several of the principal text in English while an ‘echo’ group responds in Latin. his . It was a decade ago that the sheer volume of

Britten’s childhood compositions became © Kaupo Kikkas © Kaupo known: a staggering 731 pieces between 1919 and 1932 when he Veljo Tormis in later years ‘Everyone loves a prodigy [...] was 18, far more Prodigies get us off the hook than previously be- church, causing some people in the village to for living ordinary lives. We lieved. regard Veljo as a prodigy. ‘Local women would can tell ourselves we're not say, “What a wunderkind!”’ Veljo later recalled. special because we weren't Born in the village of ‘But I was no wunderkind — I actually started born with it, which is a great Aru in Harju county excuse.’ of Estonia, the playing relatively late.’ young Veljo Tormis At the age of 13, Veljo began his more formal Nathan Hill, The Nix had a profound ex- musical education, studying organ at the Tallinn perience with choral Music School. However this was interrupted by music starting at an early age. When he was World War II and an illness. seven, his family moved to Kivi-Vigala village Veljo Tormis was internationally regarded as one where his father worked as a ‘sacristan’, a mul- The thing about music is that it of the greatest choral music writers in the mod- titasking job teaching music and working as an does become apparent if you are ern era, and one of the most important compos- organist at a local church. Their home was cut out for it quite early on. filled with music; his parents sang old folk ers of the 20th century in Estonia. In his lifetime, songs but also appreciated modern choral ar- Veljo composed over 500 individual choral I started just before I was five rangements. songs, as well as other vocal and instrumental and I just loved it. pieces, 35 film scores and an opera. The family home also had an organ that provid- Jennifer Pike ed Veljo with his first playing experience at the (Included: extracts from an obituary for Veljo age of ten. His father encouraged him to play Tormis in Estonian World 22 January 2017) the organ during the services at the local

C AR JOURNEYS WITH B RAHMS

The 1991 film Little Man gos and many others. But nestled Tate, directed by and star- briefly in the middle of this lush ring Jodie Foster, tells the music is an unexpected blast of story of Fred Tate, a gifted Brahms. child being raised by a single mother (Dede)who On a car journey to the summer is not equipped to stimu- school, the group of restless, late her scientifically and arguing and bored gifted ones musically talented son. are addressed by Ms Grierson in her best mid-Atlantic accent. Dede eventually agrees to Fred’s attendance at a summer school for gifted children, under the ‘Ah, right, now who has a song?’ guidance of child psychologist (a former child There is silence, stillness, looks of dread. prodigy herself) Jane Grierson, played by Dianne Wiest. The film hints at her educationally and ‘When I was a girl we used to sing financially privileged childhood, but also lack of Liebersliederwaltse on our many car trips.’ attention or affection. She breathes in and sings lustily, ‘Nein est is nich The soundtrack for this film is all jazz; lush, acer- auszukommen….’ bic, melancholy. It was written by trumpeter and And the music blasts forth, as the car speeds composer Mark Isham, whose name is attributed through the highway, driven by a frantic David to soundtracks in many films including The Hyde Pierce trying to escape it all. Browning Version, A River runs Through It, Galapa- Page 6 Hemiola

Email from Cecilia McDowall OZART C OWALL AVID OULT to Neil Taylor M & M D D H

Thank you so much for such a Throughout his the intricate and great concert on Saturday long life (he lived to somewhat Stravin- evening! I thought the choir the age of 94) the skian soprano aria great Anglo-Irish Ecce enim hoc and orchestra were excellent, playwright George beatam. The work such a lovely glowing tone Bernard Shaw consists of six move-

from your singers and a enjoyed a parallel ments, three for warmth and sensitivity in your career as a contro- choir and orchestra reading of the work. versial music crit- (numbers 1, 3 and ic. Among his 6), interspersed with Please would you be kind copious writings, an aria for each of enough to convey my thanks he made the obser- the soloists, and a to the choir and orchestra and vation that ‘there is Bauer Peter by Photos duet for both of to the two delightful soloists no shadow of them. And there was a (great ‘dispersit’ moments). It death in Mozart’s music’. Well, if we Maledictis. The Choir and orches- noticeable contrast in musical lan- was such a delightful evening set aside the appearance of the Com- tra were joined by four soloists: guage between the relatively simple with your most friendly and mendatore’s ghost in , Léonie Maxwell (soprano), Amy music of the three choruses and the warm-hearted choir! that may broadly be true for much of Holyland (mezzo), Alex Grainger greater intricacy of the solo sec- the composer’s short life. But every- (tenor) and Terence Ayebare (bass) tions. It was a well-prepared and thing changed in September 1791, – a good quartet, with some particu- musical performance, and there was when, at the age of just 35, Mozart larly fine singing from Holyland. much to enjoy from choir, soloists became seriously ill. Later in the and orchestra. The Choir sang with This was a most satisfying perfor- month he conducted the premiere of commitment and intensity through- mance. It was not entirely blemish- , and soon after that, out: there was a full-bodied tutti free: for example, there were occa- in response to a commission he had sound, although the text would sional moments of unsteady ensem- received a few months earlier, he have benefited from greater clarity at ble in the choir, when the basses started work on his Requiem. His times. McDowall, no doubt through tended to rush their semiquavers health continued to decline; in No- an understandable desire to avoid (maybe they were keen to get to the vember he became bedridden, and as making the choral writing too com- pub?) And the opening bars of the he worked on the Requiem as best he plex, uses a fairly limited range of Tuba Mirum were rather unti- could, he became convinced that the choral writing in this work, consist- dy. But taken as a whole, this was death it would mark would be his ing mostly of tutti homophonic an impressive and enjoyable perfor- own. Mozart died on 5 December, (chordal) passages These worked Terence Ayebare (bass) mance. with his Requiem remaining unfin- well, on the whole, and they certain- ished. ly suited this choir. However, at times I felt that she might usefully Famously, the work was com- have deployed a wider range of pleted by Mozart’s pupil Franz textures. Süssmayr and others, and that is the version which has been This was a most enjoyable evening’s widely performed ever since, music, in which both singers and and which was enjoyed by a orchestra were on fine form. And it large and enthusiastic audience was good that Cecilia McDowell at the RNCM on 23 November. was among the audience, and that Joining the St George’s Singers she was warmly applauded by audi- for this performance was the ence and performers at the end of Stockport Symphony Orches- Amy Holyland Léonie Maxwell the first half. The two works that we (mezzo-soprano) (soprano) Alex Grainger (tenor) tra, which was sensibly reduced heard in this concert, though con- for the occasion to just twenty trasting in style, share the same strings plus woodwind and brass. So symmetrical structure: each is The Mozart was preceded in the the balance between orchestra and shaped like an arch, with the final first half of the concert by a relatively choir was perfect, and, under conduc- section of each piece reprising the recent work for choir and small tor Neil Taylor, they gave us a pol- music of its opening. To quote an- orchestra, Cecilia McDowall’s Mag- ished and expressive performance, other great playwright, it was Goe- nificat, which was commissioned by with admirably clear diction from the the who compared architecture to Rosemary Broadbent will be Finchley Choral Society to celebrate entire choir. The opening of Rex ‘frozen music’. Goethe was a great conducting a Day School about its centenary in 2003. This proved to Tremendae was powerfully stirring, admirer of Mozart’s music; perhaps Mozart’s Church Music on be a craftsmanlike composition, and there was some lovely phrasing he had the composer’s final master- Thursday 23 April. with effective but fairly undemand- at times – for example, in the Lachry- piece in mind. This will take place at the ing choral writing, coupled with mosa and the Hostias. Dynamics more complex passages for the November 2019 Quaker Meeting House in Heavily, were scrupulously accurate and often orchestra and for the soprano and Stockport. really effective; the shaping of the mezzo soloists. The orchestra con- If you would like more repeated phrase ‘dies irae, dies illa’ in sisted of strings with two oboes and information, please contact the middle of the Dies Irae chorus a bassoon — the woodwind parts rosemary.broadbent@st- was particularly effective, as was the were particularly interesting and hughs.oxon.org beautifully expressive ‘voca me cum challenging at times, for example, in benedictis’ in Confutatis Issue 63 Page 7

TAYLOR’s TAGS / BROOK’s BARBS AMADEUS VS. HAMILTON MEL & SAM RIMMER Copland Old American Songs My three children have And then he starts essays, letters and pamphlets, and been supporters of St going insane, and such gripping issues as a government BB - Altos, I want you to really hug George’s Singers from an Salieri begins dress- plan to federalise states’ debts. I can’t those notes… early age, never missing a ing up like Wolf- imagine Rodgers and Hammerstein Christmas carol concert gang's dead father! managing to write a line like, TT - I’m not really hearing the style (even if they generally fell ‘You’re gonna need Congressional yet; sounds a bit chav to me. The real strength of asleep shortly after the approval and you don’t have the the play is in ex- mince pies were served) votes’. I wish rap had been invented TT - Tenors, I think you’re a bit too plaining how Mo- and later attending con- 300 years sooner, which would have bright. zart's music tied in- certs as varied as Zimbe to saved us all from sitting through a lot th to his life. This was Beethoven’s 9 . I try to of dull recitatives. Brahms Liebeslieder Walzer highlighted while help them appreciate the concerts by providing a bit of Don Giovanni plays; Salieri watches The plot isn’t as dull as I am making TT - (on pronunciation) - Hmm, I background or familiarising them and claims it's beautiful, so he made it sound. There’s plenty of drama in- think I’m hearing a bit of Barnsley with the main tunes. sure it didn't run - our protagonist, cluding three separate duels, a sexual in there. ladies and gentlemen! scandal, and a blackmail plot, as well I suggested that my son, Sam as a compelling emotional story. The In the end Salieri is writing while TT - Basses, that’s too much. You’re (currently beavering at A levels) music also is rich and rewarding, belting it out and you’re meant to should watch the movie Mozart dictates from his death bed and Lin Manuel Miranda uses it bril- an unfinished requiem mass and we be nightingales! Amadeus in preparation for our liantly to tell his story, not just ac- performance of Mozart’s Requi- all know how far he got in his unfin- company it. Each character has their em. He agreed, but with the provi- ished requiem mass. own musical voice; Hamilton sings sion that I had to agree in return It's a story about the relationship be- in rap while his wife and her sisters to listen to his favourite musical, tween two similar people sing R’n’B, and the deli- Hamilton. with one distinct differ- ciously dastardly King ence but mostly the same George III sings in a Brit Sam’s review of Amadeus lives, one of whom is far Pop style. This leads to Amadeus, or ‘Hamilton for classi- more successful and hap- some clever and unusual cal music nerds’, is the story of pier than the other. duets with different mu- . They're friends but are at sical styles in counter- Starting with Salieri talking to a odds most of the time point. Leitmotifs are also priest, we learn that he blames and one kills the other de- used heavily to help tell himself for Mozart's death. We spite their mutual respect. the complex plot and to spend some time learning about But with classical music deliver some devastating Salieri's past first, but I've forgot- this time. emotional gut shots. ten that; his dad was mean or Mel’s review of Hamilton The melodies will stay with me for something, but then Mozart some time and I think the emotional comes in playing word games Who could resist a three hour-long impact will stay even longer. After and bordering on assault. He's hip-hop musical about the life of the one hearing, I’m a fan, and I’ve clearly shown as an outsider with first secretary of the US treasury and promised Sam that, if he nails his new ideas and a disrespect for for- key interpreter of the US constitu- A’levels, I’ll take him to see it live. malities; good on him. tion, Alexander Hamilton? Weirdly, He’d better study hard because I’m it works fantastically well. The rapid The second half is almost infinite- going to be really annoyed if I don’t -fire verbal delivery of rap music al- ly better than the first; Mozart's get to go. lows a lot of exposition to be deliv- rise didn't have much focus or di- ered in an engaging way, which is rection, he was making music be- essential for a show with scenes cen- cause music had to be made and tred around the writing of federalist Mozart's gotta “Mozart”, I guess.

X2: X-MEN UNITED — DAY OF WRATH

While in the land of popu- Nightcrawler, a kindly Ger- lar culture, it is worth man mutant with a strong mentioning the use of Catholic faith, is brain- Mozart’s Dies Irae in the washed into the attempted film X2: X- Men United. assassination of the President Close up of an almost For the uninitiated, X- of the USA. Played by Alan unrecognisable Alan Cummings in Men are a team of fiction- Cummings (who happens to full Nightcrawler make up prior to al mutant superheroes be a fluent German speaker) a bit of teleporting appearing in American Nightcrawler storms the comic books published by Marvel comics. The X-Men White House to the strains of the Requiem’s Dies Irae. His fight for peace and equality between normal humans ability to teleport, leaving a sulphurous trail of ash, adds to and mutants in a world where anti-mutant bigotry is the sense of Judgement Day. fierce and widespread. Page 8 Hemiola

F ESTIVE F ROLICS

The Choir’s festive Eve. With Mr season always starts Taylor on the early in December, organ once during the season of again, SGS Advent, often carrying members on well into the supported the Christmas week. 2019 congregational was no different. singing from St Elisabeth’s Carol Concert Choir members Linda Campbell, Church in Reddish. The programme was led by Val Goss, Mary Hoult, Lorraine Our Carols and Brass by Candlelight concert took Myleene Klasse, who joined fellow singer KT Lighton, Di Walker, Kate Fuggle Tunstall in an arrangement of White Christmas. and Judy Tomlinson made over place in Advent, teaming up with Bradshaw Hall Key Stage Two choir as well as 120 cup cakes for children. Most Radio waves of the children had (at least) one; two brass quartets from some of the adult audience Chetham’s Music School. The Levy Dew, also known as A New Year Carol When Classic FM announced the and Residue, is a British folk members asked if they could programme was varied, five winners of their Christmas have a cup cake, rather than a song of Welsh origin traditionally sung in enchanting, funny and New Year celebrations. It is associated with carol competition, we were mince pie. atmospheric. An invigorating delighted to see the Choir included a custom involving sprinkling people with but rhythmically challenging on the list. Tuh. Humbug. water newly drawn from a well. performance of Alleluya, a new One possible origin of the words ‘levy-dew’ On Tuesday 17 December, as work is come on hand began the in the original lyrics of the song is that the many of us travelled to the last Choir’s performance, which words represent the Welsh phrase ‘llef y rehearsal of 2019, during ‘Drive also included A New Year carol, Dduw’, meaning ‘a cry to God.’ Time’, our recording of I saw a lilting piece for female voices Three Ships was aired. This by Benjamin Britten. beautiful arrangement by choir We joined Bradshaw Hall and friend Darius Battiwalla is on our Chetham’s for John Rutter’s Christmas CD The Christmas Life. Colours of Christmas and our Interestingly, the day before, ‘finale’, an arrangement of Classic FM broadcast the first of Jingle Bells by David Wilcocks. the five winners. And that turned out to be Mr Battiwalla again, Television waves this time conducting Sheffield Last year, a significant number Philharmonic Chorus and the of the Choir took part in the Black Dyke Band in his own recording of ITV’s Carols at arrangement of Adolphe Adam’s Christmas, aired on Christmas O Holy Night.

W INTER W EDDING ALI MCLAY

Christmas is a time for carol singing and that's an email from them, exactly what our Cheshire Consort wedding thanking the choir did on 27th December 2019 at a wedding Cheshire Consort in St Peter's Church Prestbury, a church we've for their The weather for the Cheshire sung in many times before. Our bride and groom contribution. Consort’s christmas wedding unexpectedly found themselves without a choir was sunny and chilly. During 4 weeks before their wedding so it was a real ‘We cannot thank rehearsal, a peacock butterfly pleasure for 18 of us to come to their rescue. you enough for the amazing performance from was spotted by Bridget Ovey as it you and your choir. It, without doubt, was one of fluttered by the choir stalls. We sang a selection of carols throughout the the highlights of the day. I will certainly Another peacock butterfly ceremony: Hark the Herald Angels, with a stirring recommend you in the future!" fluttered by, around the pews as descant in the final verse from the sopranos, In St George’s Church in Poynton the Bleak Midwinter and Once in Royal David City. Well done, Cheshire Consort. And you raised during our Singing Day. During the signing of the register the choir sang £300 for choir funds. Silent Night and Ding Dong Merrily on High.

The happy couple were definitely pleased with our singing. Following the wedding, I received Issue 63 Page 9

INGING AY REQUIEM BY JOHN RUTTER Taylor’s Singing Day Tags S D Amongst the various quips and jokes came these two. They can be The cry of ‘They’re applied to any voice part. So I am coming!’, is heard from told. the kitchen, called by A choir rehearsal start was delayed hawk-eyed Peter by the conductor running late. The Farrington, alerting Chair asked if anyone might be ladlers and marshals to able to stand in, to get the singer s the impending surge of started. A bass stepped up, hungry singers. The volunteering to beat time, for the cooperative queue of initial piece of singing. The singers followed barked conductor finally arrived and the instructions to ‘pick a bass returned to his seat. His roll, find your soup neighbour turned to him. choice and stand in “Oh, hello, you’re a bit late, I All smiles in the kitchen... front of it; keep the haven’t seen you all rehearsal!”. long line moving.’ . . . . The afternoon Let ladling commence! Saturday 18 January was a beautiful but cold and rehearsal was as Why do Altos have trouble with icy winter’s day. The sun shone throughout, vigorous as the morning. All our singers produced doors? lending an optimistic air to our Singing Day. At an extremely well-blended sound and we were They can’t find the key and they 8:15am, the massed ranks of helpers and proud to have two of our own taking the soprano don’t know when to come in. organisers from the solo sections in the Pie Choir arrived, ready Jesu and Lux Aeterna. to set out tables, Jacqui Smith and Jennie chairs, tea cups, Nichol performed these music, and even a sections with calm poise tombola stall; and no sign of nerves. paraphernalia of this Honest. annual event. Requiem was written The kitchen was in following the death of full swing by 8:30am, John Rutter’s father gallons of soups (1985). At times waiting in line to be Basses preparing for the start of the day mournful, the work is brought up to heat also gently consoling, steering clear of anything and coffee cups laid out for the arrival of the facile or cloying, generating poignancy for both singers. singer and listeners. The short concert took place Our singers (about 200) came from near and far; at the end of the day to a small but appreciative Yorkshire (the Lasses from previous tours), audience. darkest Cheshire and even Gloucestershire. Despite being a member of the Choir for many year, soprano Virginia Fox has previously always had teaching commitments on a Saturday, so this was For Singing Day 2020, we have set her first time attending a target to reduce our impact on the Singing Day. She the environment in as many ways told us, ‘As a first as possible. We have already timer at the legendary taken some feedback from Choir St George's Singing Day, I was bowled over by the magical blend of music and hospitality offered. members as well as visiting singers. Organisers are starting to Looks random but a very organised warm up takes place But would we really be up to performing John look at options whilst retaining our Rutter's Requiem after only a few hours' Our registration team processed our singers value for money and efficient rehearsal? Well, I can't speak for the efficiently, ensuring all were ready for the organisation. audience, but as someone taking part I was legendary warm up. pleasantly surprised by what a satisfying If you have any suggestions or The first break in proceedings was for lunch; experience it was and how well chosen this work ideas, please let us know by soup and rolls. Our Singing Day lunch break is was for such an occasion.’ contacting us via : enquiries@st- always taken in two stages, to allow time for georges-singers.org.uk both a focussed rehearsal in the church and less crowding in the hall as two voice sections move out. Page 10 Hemiola

TALES FROM THE CHOIR

V OICES IN V IETNAM ANDREA MILLINGTON

I’ve experienced some wonder- Messiah and ful trips to see my son Rik, some carols who teaches in International which were schools. His news a year ago mostly known was very exciting. A sister to me. I pre- school to his own school in pared well, Kuala Lumpur was to be built putting labelled in Hanoi, Vietnam, and Rik music in my was asked to be its Founding black SGS HANOI TRAFFIC Principal. I followed with in- folder. Rik Hanoi has a worldwide reputation terest the building of this new acquired the for having the craziest traffic at all school and its opening in Sep- necessary times. Andrea was given clear tember 2019. A month’s trip green scarf! advice about crossing the roads. to stay in Hanoi was planned Arriving for the for Christmas and New Year An article by Sarah Turner in rehearsal, eve- and I looked forward to visit- Travelfish.org noted that ‘it’s not ryone was very ing the school in person. just when crossing the road that welcoming. you’ll need to watch for traffic. I then received a surprise We got into Footpaths are frequently non- Whatsapp message from him our places in existent, especially in built-up… on 18 April in 2019. ‘You church after a areas with narrow streets, such as might be interested /amused to warm-up led Old Quarter. This means you will learn I’ve just been to my first by one of the went very well. I was so proud often have to walk in the road. I choir practice’. Of course, I basses. The rehearsal began, of my son opening the concert was always taught that you should was pleased and very interest- then stopped and a lot of time from the rear gallery with ‘Of walk facing oncoming traffic, and ed. Rik joined the team of was spent rearranging our posi- the Father’s Love Begotten’ that rule applies here. Well, as far basses in Hanoi Voices, an tion and the microphones for arranged for tenor and bass as it can, given traffic doesn’t international chamber choir, quartet. At the end of the con- necessarily drive on the right side which has a flourishing Face- Advice given to Andrea about dealing with cert, after much enthusiastic of the road or the right way down a book page, so I could keep up the very busy traffic in Hanoi. applause I was surprised, not one-way street. to date with their events. Rik ‘Everything moves slowly,’ he said. being a soloist, to receive two But it’s a place to start.’ told them I was visiting, and I 'Nobody does anything suddenly,’ he said. lovely bouquets from a col- felt very honoured to be invit- 'Step out slowly, keep going,’ he said. league of Rik’s and Rik’s girl- ed to join them for their Christ- 'YOU must avoid cars and buses,’ he said. friend; it’s quite usual apparent- mas Concert in Cua Bac 'But, the scooters will avoid YOU,’ he said. ly. church, a prominent catholic ‘I'll hold your hand,’ he said. church in Hanoi. ‘THANK YOU!’ I said. So, what happened next? Yes, we all went to the pub! What a A tight schedule, I arrived on great experience making music December 11th, with the re- best effect. Everyone was good with such lovely people, all hearsal on the 12th and concert natured and relaxed and, as we living in Hanoi but of many on the 13th. I needed to be well began to sing through the Mes- different nationalities and unit- prepared! The programme siah choruses, I felt quite at ed in their love of singing. I’m consisted of choruses from home. glad Rik found them and that we had an opportunity to sing On concert day it together. was all so famil- iar! There was a warm-up, adjust- It was a great way to begin my ing of scarves Hanoi adventure and I really and the bit of appreciated the opportunity. gold tinsel, (yes, just a little dis- creet piece!), the pre-concert chat, getting music in order, and lining up to go on. The church was full, the instrumental- ists and soloists were excellent, Further adventures for Andrea and the music Issue 63 Page 11

T ALES FROM THE CHOIR Ee Mungu Nguvu Yety Unlike some other countries’ national anthems which were written or composed by foreigners, M WALA MEMORIES SARAH LIONHEART the Kenyan national anthem was prepared by local people…based on a traditional tune sung by From 1979 to 1980, I taught in Kenya, as a volunteer aged 13-14 years old. Pokomo mothers to their children. teacher with the Project Trust. I was 18 years old and the The boys sleep in dormitories with 50 bunk beds in It is notable for being one of the year proved to be a formative one. In January this year, I each. Their food is cooked over four large charcoal first national anthems to be returned for the first time, travelling with my husband, fires. Both the dormitories and a dining room have specifically commissioned as Bill. For part of our holiday we stayed in the Masai Ma- been built with some extra funding from the govern- such, written by the Kenyan ra, camping out at night with the sounds of Africa ment which usually only pay teachers’ salaries. But Anthem Commission in 1963 to around us. We also had the opportunity to meet the the school still needs to have dining tables and seat- serve as the state anthem after Maasai and sing, in Swahili, the Kenyan National An- ing. All the schools in the area have steel tables and independence from the UK. them Ee Mungu Nguvu Yetu. Our singing opportunities chairs that are fabricated locally. The material used (in Swahili) extended as we explored the area, meeting has to be robust, to be able to last well in the climate. Wikipedia various communities and individuals. They are painted every two years and can last for Mwala Boys’ school is a rural school, in the interior of three to four decades. Kenya. Previously a part of the Harambee Schools, it is This secondary school now needs to have this essen- now government owned, having grown considerably tial resource to be able to attract more pupils and and now has compulsory boarding because the catch- then support them in both their learning and devel- ment area is so large. When I taught there, the boys opment; having appropriate furniture in a large would walk up to two hours each way to attend school. room will mean it can be used as a homework and During this visit I was able to meet former students from exam room, as well as assemblies, performances etc. 40 years ago. Bill and I were also able to give talks to the Both existing and new parents would be asked to current students, numbering close to 700 boys. The donate money to fund this essential resource. I wit- school aims to raise this number on roll to 800 over nessed boys being turned away because there was the four academic year groups, with the youngest boys not enough money for them to pay the first fees of ‘Over the years, Project Trust sent 398 school leavers as volunteer the year. As such, I have launched a fund raiser for teachers to Harambe schools in this specific resource, helping not only the next in- Kenya. They had a tremendous take of boys but the future children at the school. If impact, as Sarah testifies, and it’s there is any one in the choir who would like to do- good to support this school so nate, please get in contact. many years later.’ [email protected] (Go Fund Me - search ‘Steel dining furniture 4 Ken- Alison Fraser, Head of Alumni, IT & yan School’) Administration, Project Trust

B EETHOVEN 250

This year a number of celebrations and events are taking place across the world to mark the birth 250 years ago of Lud- wig van Beethoven. The Choir’s season does not include any of Beethoven’s works, but some members have been participating in and listening to them in concert halls and over the airwaves. Two years ago, bass Reynold Hig- ginbotham approached me with a bit of ‘whimsy’ in relation to Beethoven’s name. He gave me a sketch, saying ‘It’s Higginbotham Reynold / Pye © Danial something like this.’ I am grateful to alto Cartoon designed by Reynold Higginbotham and Daniel Pye Sylvia Glover for helping. Daniel Pye, a singer-songwriter/artist and friend of Sylvia, realised boundaries of the style as he inherited it, and they Reynold’s humour into a cartoon, for the price of a subsequently chart his constant experimentation new aromatherapy bowl. . We hope you enjoy it. with structure and musical expression. On a slightly more cerebral vein, Alto Rosemary The second of these events will be taking place on Broadbent recently conducted a day event that fo- Friday 13 March, at the Quaker Meeting House in cussed upon Beethoven’s piano sonatas. These Heavily, Stockport. Further information can be works cover the longest period of Beethoven’s devel- found from contacting rosemary.broadbent@st- opment as a composer, and were his most personal hughs.oxon.org. statements. His first published sonatas tested 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!

Sunday 28 June 2020 King Edward’s Music Society Sir Mark Elder, Halle Choir RNCM Young Company Gretchaninov Vespers, Vaughan (KEMS) and Orchestra Williams Mass in G minor Our House: The Madness Dove There was a Child Beethoven Christus am Ölberge Musical Vaughan Williams/Drayton The Lark Fauré Requiem (Christ on the Mount of Olives) Ascending Royal Northern College of Conductor Ian Chesworth Bridgewater Hall Music, Manchester, M13

9RD Saturday 21 November 2020 St Michael & All Angels 9 April 2020 19:30 22 April 2010 14:00 70 Years of English Choral Music Church, Market Place, This choral cantata portrays Macclesfield, SK10 1HW St George’s Church, Stockport Christ’s agony in the garden of Based in 1980s Camden, the Gethsemane, his arrest and the musical tells the story of 16 4 April 2020 19:30 triumph of the Resurrection. year old Joe Casey on a first Saturday 16 January 2021 There was a Child is a warm- With soloists Toby Spence, date. After breaking into a Singing Day hearted masterpiece in the spirit Neal Davies and Jennifer building site, the police turn Fauré Requiem of Britten and Vaughan France. First performed in up and Joe’s life splits in two. Caption describing picture or Williams. Filled with heartfelt 1803, the oratorio will be Winner of Best New Musical,

graphic. emotion it is perfectly matched combined the Beethoven’s 2003 and featuring a collection Ticket Hotline: 01663 764012 with the more familiar Requiem Second Symphony, premiered of Madness hits. Time to re- [email protected] by Fauré. in the same concert. live the 80s! Tickets £12 Adult £2.50 under Tickets £14.50 -£43.50 Tickets £12+ available from 18s available from available from www.rncm.org or 0161 907 www.kems.org.uk or on the www.bridgewater-hall.co.uk or 5555 door. 0161 907 9000