Author: pauledwardashmore

CONCERT BY CANDLELIGHT WITH THE WRINGTON YOUTH CHOIR – SATURDAY 30 NOVEMBER

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We were pleased to present a “Carols by Candlelight Concert” as our first ever performance in All Saints Church Wrington on Saturday 30th November when the main work was “A Ceremony of Carols” by Benjamin Britten sung together with the newly formed Wrington Youth Choir. We were delighted to welcome as our harpist Alis Huws Official Harpist to HRH The Prince of Wales, Michael Taylor the Wrington Church organist and our two soprano soloists local mother and daughter “Zoë Maitland-Round and Louise Maitland-Round”. The whole concert was organised and conducted by our accompanist Allison Blundell who trained both choirs while her son George acted as accompanist in her place.

Benjamin Britten’s hugely popular Ceremony of Carols was inspired by his discovery of “The English Galaxy of Shorter Poems”, a collection of poetry first published in 1933. It was composed in part while returning by ship to Britain from the United States in 1942. It features an unusual setting for treble voices and harp; Britten had intended to write a harp concerto and so had been studying the instrument. The “carols” are largely the product of 15th and 16th century writers, most of whom are anonymous. They retain their unique flavour by Britten’s extensive use of old English language. The version we presented was an arrangement for soprano, alto, tenor and bass with two soprano soloists.

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Wedmore Arts Festival Concert – Music for a Summer Evening – St Mary’s Church, Wedmore, Saturday 11 May 2019

The Somerset Choral Society were delighted to be part of the 2019 Wedmore Arts Festival at St Mary’s Church, Wedmore on Saturday 11th May when they presented a programme of “Music for a Summer Evening” in conjunction with the talented young local violinist Poppy McGhee. An audience of around 200 came and enjoyed a splendid evening of varied music making.

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Wedmore Arts Programme

In the Five Mystical Songs Vaughan Williams uses the words of the famous metaphysical poet George Herbert and the piece ends with his magnificent setting of the hymn “Let all the world in every corner sing”. Ed chose two pieces from Brahms, the first being his masterful setting of Paul Flemming’s hymn Die Geistliches Lied which is a devotional poem espousing the idea of trusting to the divine for your future.  To conclude the first half, Ed selected two choruses from the Requiem by Gabriel Faure the haunting Sanctus with the solo violin playing over the top and in perfect contrast the Libera Me movement with its grounded and visceral Baritone solo sung by Craig Bissex.

After the interval,  the Choir sang the second Brahms piece drawn from his German Requiem “How lovely are thy dwellings” which is its central and best known movement.  We then welcomed violinist Poppy McGhee accompanied on piano by Matthew Redman. Poppy chose a varied programme with the whole audience in mind. The audience enjoyed the simplicity of Salut d’amour by Edward Elgar, the intensity of The Prokofiev Sonata, the serene beauty of Brahms’s Contemplation and the cheekiness of The Hot Canary by Paul Nero.

This was Ed’s final concert as our Musical Director as he is moving on to pastures new. At the end of the concert and as a token of the Choir’s appreciation of his services, our Chairman Jane Chubb and Secretary Ginny Waters presented Ed with some Dartington Wine Glasses and some bottles of red wine.

Ed Farewell Presentation (2)

SOMERSET CHORAL SOCIETY CHORAL WORKSHOP – “COME AND SING FAURE REQUIEM” ON SATURDAY 27 APRIL AT ST MARY’S CHURCH WEDMORE

The Somerset Choral Society held a very successful Choral Workshop “Come and Sing Faure Requiem” on Saturday 27 April in St Mary’s Church, Wedmore between 10:00am and 3:00pm. Fifty Singers from all over the local area registered and enjoyed an enjoyable day’s choral singing led by their Musical Director Ed Goater punctuated by breaks for hot and cold drinks and biscuits and some social chat.  For the workshop Ed chose Movement 1 “Introit and Kyrie”, Movement 3 “Sanctus”, Movement 5 “Agnus Dei” and Movement 7 “In Paradisum”. The workshop ended with an informal performance of these four pieces starting at 2:30pm.

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Come & Sing Faure Requiem Poster

ADVENT CANLELIGHT CONCERT -SATURDAY 24 NOVEMBER 2018

On Saturday 24th November, Somerset Choral Society performed a programme of Advent and Christmas music and readings to an appreciative audience of 150 people in St Mary’s Church, Wedmore that was lit entirely by candles; it proved to be a wonderfully atmospheric celebration of Advent. The choir performed Bob Chilcott’s “ On Christmas Night” plus seasonal favourites including Harold Darke’s arrangement of “In The Bleak Midwinter”, “Adam lay y’bounden” by Boris Ord,  “The Three Kings” by Peter Cornelius, “Gabriel’s Message” by Edgar Pettman, “Lo, how a Rose e’er blooming” by Praetorius and concluded with a rousing arrangement of “God Rest Ye Merry Gentlemen” by David Willcocks. As well as the music, there were a selection of seasonal readings. Virginia Waters read “Reading from Advent 1955” by John Betjeman, Edward Goater read  from “A Child’s Christmas in Wales” by Dylan Thomas and Adrian Shephard read “The Art of Sending Christmas Cards” by William Connor.The choir was conducted by its Musical Director Edward Goater and accompanied by Organist Matthew Redman. To complete the Advent atmosphere, the audience were able to sample mulled wine and mince pies before, during the interval and after the concert.
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SOMERSET CHORAL SOCIETY MEMBERS GARDEN PARTY SUNDAY 2 SEPTEMBER 2018

On a beautiful sunny afternoon on Sunday 2nd September, the Somerset Choral Society celebrated the start of their new term with a Garden Party held at the home of two of the choir members, Roger and Celia Starr. In the lovely surroundings of the Starr’s garden, members were treated to “bubbly” and a traditional cream tea organised and prepared by Janet Leek and Gillian Ticehurst. A great time was had by all as people sat around the beautiful garden eating, drinking and enjoying entertainment that was provided by the Churchill Singers, a choir member Maurice Jackson’s rendition of “Albert and the Lion” and music from local singer/songwriter Winston Chubb. Members attending described it as a really enjoyable and relaxed afternoon social event.

On Wednesday 5th September the choir started the hard work of rehearsals at Sidcot School Concert Hall in preparation for the next production which will be a Candlelit Concert of Advent and Christmas Music at 7:30pm on Saturday 24th November in St Mary’s Church, Wedmore.

 

SUMMER CONCERT 16 JUNE 2018

Somerset Choral Society performed the Mozart Requiem and Handel’s Foundling Hospital Anthem in Wedmore Church on Saturday 16th June to an audience of about 120 people that were very appreciative of their performance. Andrew Kirk played the organ accompaniment brilliantly while Lucy Balderson’s effortless top notes were fabulous. The three enthusiastic young male soloists acquitted themselves very well and, in particular, the counter-tenor Finn Lacey demonstrated his remarkable voice with some remarkable trills.

Ed Goater their Musical Director commented “Tremendous thanks from me to all of you for your work in the concert on Saturday. You all committed admirably to putting on the very best performance and, if occasionally lacking in tempo, was never lacking in enthusiasm and vigour! The Handel was very well sung, with all the passage work coming out nicely. I think people enjoyed hearing it for the first time. The Mozart was of course, a pleasure to perform and hear you sing. I was particularly impressed with how you coped with the difficulties of performing with the organ – live on the spot.”

All in all the end product was a very successful concert after a difficult rehearsal term.

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SUMMER CONCERT – SATURDAY 16th JUNE – MOZART REQUIEM & HANDEL FOUNDLING HOSPITAL ANTHEM

Our next Concert will be at 7:30pm on Saturday 16th June in St Mary’s Church, Wedmore when we will perform George Friederich Handel’s “Foundling Hospital Anthem” in the first half, then an interval for wine and soft drinks followed by Wolfgang Amadeus Mozart’s “Requiem”.

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Our Soloists

Our Organist

Andrew Kirk Organist

Andrew Kirk – Organist

Andrew is the Organist at St Mary Redcliffe, Bristol.

The Foundling Hospital Anthem (HWV 268), also known by its longer title “Blessed are they that considereth the poor” is a choral anthem composed by Handel in 1749. It was written for the Foundling Hospital in London and was first performed in the chapel there. Handel wrote two versions, one for choir only and one for choir and soloists. It is compiled from material originating in other works by Handel, ending with the “Hallelujah” chorus from Messiah. The Somerset Choral Society will be performing the version for choir and soloists.

The Requiem in D minor, K. 626, is a requiem mass by Wolfgang Amadeus Mozart. Mozart composed part of the Requiem in Vienna in late 1791, but it was unfinished at his death on 5 December the same year. A completed version dated 1792 by Franz Xaver Süssmayr was first performed on 14 February that year. The Somerset Choral Society will be performing using the second edition of the score published by Novello that is written for voices and orchestra but the performance will be accompanied on organ.

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Rehearsing the Mozart Requiem

 

 

COME & SING MESSIAH WORKSHOP AT WEDMORE CHURCH ON SATURDAY 24TH MARCH

The walls of St Mary’s Church Wedmore were echoing last Saturday March 24th as the Somerset Choral Society held a “Come and Sing Messiah”.

More than 90 singers from North Somerset, Sedgemoor, Mendip and South Somerset gathered together for a workshop run by our Musical Director, Edward Goater, who rehearsed four choruses with the singers over two sessions in the morning and afternoon. The choruses were accompanied on the organ played by Matthew Redman. The fun culminated in a short concert during the afternoon. The day was interspersed with breaks for coffee, tea and home- made cakes! Ed shared vocal tips and his musical expertise with the singers who responded with a stirring performance of the Messiah choruses, culminating with a super rendition of the “Hallelujah” chorus.

The Somerset Choral Society is always happy to welcome new singers. There are no auditions although the ability to read music is helpful. Visit our website: http://www.somersetsingers.wordpress.org for further details.

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Scene from the Workshop

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For our next concert, to be performed in St Mary’s Church, Wedmore on June 16th at 7.30pm, we will be singing the ever popular Mozart Requiem and Handel’s Foundling Hospital Anthems (which include the famous Hallelujah chorus). If you would like to join us to sing in this concert, rehearsals take place every Wednesday evening from 7.30 – 9.30 pm at Sidcot School Winscombe. Rehearsal dates are : March 28th, then a break for Easter and resuming on April 18th up to the concert date.

SOMERSET CHORAL SOCIETY TRIBUTE TO OUR HONORARY PRESIDENT RAIMUND HERINCX

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With great sadness, we wish to commemorate our Honorary President Raimund Herincx who left this world on 10th February aged 90. Raimund became our President in 1997 at the invitation of Brendan Ashe who was our Musical Director at that time and Raimund has remained so until the present; he sang with us in two concerts. The first was Carmina Burana on 28th November 1998 in St Mary’s Church, Wedmore when he sang “The Dying Swan Song” “Olim lacus colueram” in his falsetto range. The second occasion was our Millennium Concert on 29th April 2000 in Wells Cathedral when he sang the Bass solos in “Verdi’s Requiem”. Anyone that heard his bass voice entry “Requiem Aeternam” in the “Lux Aeterna” that day will know what power he had!

The entry below is his Obituary in the Daily Telegraph:

Obituaries
Raimund Herincx
Operatic bass-baritone who excelled in Wagnerian roles and championed the works of Tippett.

RAIMUND HERINCX was one of the great Wagnerian opera singers of the 1960s and 1970s.

A tall, bearded, Falstaffian figure, he had a commanding presence and a voice of depth and authority that could seemingly carry the length of a football pitch with minimal effort. He was in particular demand playing characters of a menacing, sinister or ruthless bent, such as Baron Scarpia in Puccini’s Tosca or the title role in Boito’s Mefistofele.

As Wotan in Wagner’s Die Walküre he could out-sing a bank of roaring tubas, joking that even if their number increased he would still be heard over them. His first appearance in the role was with English National Opera under Charles Mackerras in 1976, after which Opera magazine described him as “the discovery” of the Ring Cycle, adding that his voice was that of “a true heroic bass-baritone, deployed with unstinting generosity and deep feeling”.

Raimund Frederick Herincx was born in Kensington on August 23 1927, one of three sons of Florent, a Flemish military tailor, and his wife Marie. His paternal grandmother was of Romany stock and Herincx would claim that he declined to sing at Bayreuth, once the operatic citadel of the Nazis, “because of what Goebbels did to her”.

Young Raimund’s early years were spent in Flanders, but he was educated at St Mary Abbots School, London, and Thames Valley Grammar School, Twickenham, where his talent for singing was discovered. Ralph Vaughan Williams was impressed after hearing him perform in a music festival in London.

He joined the Life Guards in 1944, but was wounded in northern France. He remained in the Army, taking a degree in Chemistry at Birkbeck College, but the combination of ruinous mess bills and distaste for chemical warfare projects meant that demobilisation in 1948 could not come soon enough.

He studied singing in Belgium, making his debut there in The Marriage of Figaro in 1950, before taking private lessons in London. At Christmas 1955 he appeared in Beauty and the Beast at Richmond Theatre, though one critic observed that his “resonant baritone was somewhat above ordinary pantomime standards”.

Two years later he made his British opera debut in Mefistofele with Welsh National Opera. That year he joined Sadler’s Wells, appearing as a charming Count Almaviva in Figaro. His first Wagner role was Wolfram in Tannhäuser in December 1959, conducted by Colin Davis, and the following year he made the first of 34 appearances at the BBC Proms, taking part in Stravinsky’s Oedipus Rex conducted by Malcolm Sargent. Herincx was a great champion of Michael Tippett, making his first appearance at Covent Garden in 1968 as King Fisher in The Midsummer Marriage; two years later he created the role of Faber in Tippett’s new opera The Knot Garden, directed by Peter Hall. He was also involved in John Tavener’s dramatic cantata The Whale and in 1972 sang the White Abbot in Peter Maxwell Davies’s opera Taverner. During this time he was a regular soloist with choral societies around the country.

At the height of his career Herincx became caught up in John Ogdon’s descent into mental illness. The pianist, with whom he shared an agent, began to perceive him as a controlling figure, even suggesting that the singer was altering his scores in an attempt to derail his career. If Herincx was guilty of anything, it was of getting out of his depth in coming to the aid of a man in need of professional help.

In retirement Herincx, a connoisseur of fine wine, and his wife bought Wraxall vineyard near Shepton Mallet in Somerset, although the physical labour soon became too arduous. When the Glastonbury Arts Festival, not to be confused with the rock event, learnt of his proximity they persuaded him to take part in a 1996 staging of Rutland Boughton’s long-forgotten opera The Immortal Hour.

About 18 years ago Herincx settled in Bath, where he could be heard reading lessons in Christmas carol services. To his family’s amusement he campaigned in vain to have the tomb of Venanzio Rauzzini, the famous castrato and friend of Haydn who died in the city in 1810, moved from an obscure nook in Bath Abbey into a more central location. When the Three Tenors sang in Bath in August 2003 he was greeted as a long-lost friend by Placido Domingo and Luciano Pavarotti, the three of them spending a long evening reminiscing about operatic triumphs of the past.

For 30 years Herincx lectured and taught at the North East of Scotland Music School, part of Aberdeen University. In the week before his death he was listening to his acclaimed 1967 recording of Handel’s Messiah with Janet Baker conducted by Mackerras, one of the first to reconstruct the style of performance that the composer might have known.

In 1954 Raimund Herincx married Astra Blair, also an opera singer and later a musicians’ agent. She survives him with two daughters and a son.

Raimund Herincx, born August 23 1927, died February 10 2018