Ramsbottom Choral Society & Orchestra

At the first glance in the programme, one wondered what treasure lay in store for the listener to the music of Gounod and Puccini. As a young man Gounod vacillated between composing music and the priesthood so it should come as no surprise to find oneself listening to his Messe Solennelle. As for Puccini our minds immediately spring forth to Grand Opera so something good must be in the offing. Indeed, listening to this Messa for orchestra, four part choir, with soprano, tenor, and bass soloists, one could feel the curtains opening as the Kyrie unfolds in its eerie mystery.

The choir did not seem overawed by the magnitude of their task. Their singing was bold and confident, a tribute to the conductor, Barry Sugden. The Kyrie, calm, leisurely, passionless music, moved along serenely under its own momentum. The impact of the opening bars in the Credo of Gounod was quite moving. Breath-taking in its majesty.
It is difficult to record all the beautiful things in the scores but the performance of all concerned went a long way towards realising them and nothing essential was missed out.. The diction was clear and the tone good with sensitive singing in the quieter numbers. The soloists, Suzanne Mather (soprano), Chris Dodd ( tenor ), Maurice Rushby (baritone) sang their parts with skill and refinement of tone, always a joy to hear the trained human voice. The audience was enthralled by the beautiful singing of the soprano whilst in the Puccini we heard glimpses of dramatic power, the tenor and baritone being more operatic than is usual in church music.
 
At no point did the orchestra dominate the proceedings. Its functions were to accompany and provide a background, supporting and contrasting with the voices. This they did with commendable skill considering the complexity of the scores with small forces. The woodwind, oboes and bassoons played well together with credit to the brass ensemble in addition.

The choir produced the music as it was written and the result was eminently satisfactory. The audience seemed to be enthralled by the majesty of the works performed, those moments of sacred solemnity, the bouncing gaiety of the Gloria and the delightful syncopation in the Agnus Dei in the Puccini whilst the St. Cecilia Mass brought the whole evening to a delightful ending. On the whole, the performance was very successful and brought great credit to all - choir, orchestra, soloists and conductor.

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It seems odd that the concert this evening should have commenced with a plot that evolves round the Duke of Durham and his sister Lady Kay, English bootleggers in the Prohibition Era of America. George Gershwin wrote the music and Ira Gershwin the lyrics. Here we are in the Roaring Twenties with notorious bootleggers but comic characters. “Someone to watch over me” became the hit song of the show. In the duet “Do, Do, Do” Ian and Janet Lewis made us realize why such musicals enraptured audiences, singing so beautifully and supported by the choir in good voice.

After the Gershwin selection we heard two solo items. Rodney Porter reminded the older members of the Dancing Years, the most popular show of World War Two singing “ My life belongs to you” where one could hear every word with his clear diction and lovely tenor voice followed by Wendy Porter, always a pleasure to hear, singing “Till there was you” from the Music Man by Meredith Wilson.

Having settled down to some joyous music making, the Andantino Singers reminded us of their talents singing “Love changes everything” from Aspects of Love and “ Any dream will do” from Joseph and his Technicolor Dreamcoat by Andrew Lloyd Webber and “You’re just in Love” from Call Me Madam by Irving Berlin.

Echoing the Andantino’s choice of Andrew Lloyd Webber, Patricia Butterworth entranced us by playing a violin solo arrangement of “Till I hear you Sing”, and the title song “Love never Dies” from his most recent show of that name, accompanied by Harry Butterworth.

Other solos were performed by Maurice Rushby singing “Song of the Flea” in his own inimitable style, and Rodney Porter singing “Bring him Home” from Les Miserables.

The Andantino Singers then sang more engaging songs composed by Lloyd Webber, “On this night of a thousand stars” and “I’d be surprisingly Good for You”, both from Evita.

Of course no musical feast would suffice without a little music from the Savoy Operas loved and cherished all over the English speaking world. The choir and orchestra excelled in “Sighing Softly on the River” as inspired by and worthy of Sullivan’s hero Schubert. “Never mind the Why and Wherefore” it’s lilting melody sending us away humming to ourselves. Finally the first half ended with “A British Tar” from HMS Pinafore. These songs address contemporary and political issues of the day without sacrificing pure entertainment.

Finally the concert and the season ended with Samuel Coleridge-Taylor who had a gift for melodic beauty. His composition for Hiawatha’s Wedding Feast, for which he is best known, amply justifies this view. He was an Afro-British Composer, conductor and Professor of Music. Apparently the pieces popularity matched Handel’s Messiah and Mendelssohn’s Elijah when first performed. The music is a Victorian/Edwardian dream of a native American idyll. As soon as the orchestra starts to play, one can imagine an Indian encampment with an insistent rhythm, not a War Dance but one of joy and exultation. Its sturdy warmth and individuality lifts the piece far above mere facility in music that was his own. The choir sang these songs of love and longing with passion. Again one could easily imagine the guests clad in doeskin, white and soft. On their heads plumes of swan’s down, dancing in a solemn manner, slow in step and gesture. Eventually dancing more swiftly and whirling in circles. Later the friend of Hiawatha, Chibiabos sang in accents sweet and tender “On awake! Awake beloved!” Here Rodney Porter sang this difficult Tenor Solo really well where he gets little help from the orchestral accompaniment. This is an example of the skill of the composer and in many ways the highlight of the whole work.

The whole evening proved a fitting showcase for the talents of all the soloists and the amateur musicians who gather together week in and week out, to sing and play their instruments with commitment. The success of these concerts is entirely due to the energy and direction of Barry Sugden who does more than anyone to demonstrate the joy of making music. Lastly, we left Hiawatha, happy with the night and Minnehaha.
 
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After a lovely day what could be more enriching than an evening listening to English choral music? There is nothing finer than the human voice as a musical instrument and the works this evening demonstrated its beauty. The soloists for this concert were Trefor Davis, Tenor and Maurice Rushby, Baritone together with Chris Parsons, Trumpet.

The concert, at Bolton Road Methodists Church, opened with Sir Hubert Parry’s “Blest Pair of Sirens” which represents him at his best and both choir and orchestra responded to the composition with ardour and vigour. This was followed by Elgar’s Scenes from Bavarian Highlands reminiscent of places visited by Elgar on holiday.
The Dance and Lullaby depict Elgar composing in a lighter style full of
spirited melodies, simple but unsurpassed. Here the choir demonstrated an undeniable warmth, identifying with each piece admirably

It was good to hear Maurice Rushby, yet again, singing with joy in Songs of the Fleet by Stanford. In many ways English composers have always been influenced by the sea surrounding our shores. In the first piece, it was not difficult to imagine the crew weighing anchor ready for “Sailing at Dawn” with orchestra demonstrating the ebb and flow of the restless sea once the sails had been set. The ‘Middle Watch’ is a piece of skilled nocturnal tone painting demonstrating the expertise of the composer.

It was a pleasure to hear Chris Parsons playing a trumpet concerto written by Richard Mudge who studied music at Oxford University in 1735. Later he entered the church and finally became the Rector of Bedworth. He was acquainted with Handel and he may have been inspired to write for the trumpet after hearing the Messiah. However, it was played admirably and was well supported by the orchestra producing a warm sound to support the soloist in a persuasive interpretation which revealed the beauty of this rarely heard work.
Finally, we heard John Stainer’s Crucifixion who wrote this work especially for local Parish Churches which achieved widespread recognition. His work as a whole has lost its critical reputation but here we were reminded of one of his major works celebrating Holy Week which still forms part of the repertoire of numerous choirs being a Meditation on the Sacred Passion. The solo parts were sung admirably by Maurice and Trefor displaying the right depth and intensity of feeling throughout. Solo parts within the choir were well sung by Marsden Holden and Peter Scanlon. The performance of the work was a credit to the choir. The hymn tunes ‘Cross of Jesus’ and ‘All for Jesus’ and the chorus ”God so loved the world” resonated with the audience to make this evening special, together with their valued contribution in the hymns.

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Andantino /Tooti Flooti Concert Saturday 12th February 2011

The concert given by Andantino and Tooti Flooti on 12th February was enjoyed by a large and appreciative audience.
The programme was varied and there was something to suit everyone - from madrigals with their intertwining harmonies written in the 14th and 15th centuries, to moving songs from Les Misérables and lovely melodies and songs from the shows, sung by Andantino. Soloists Brian Milligan and Maurice Rushby delighted us with their songs, romantic, dramatic and amusing.
It was obvious that members of Tooti Flooti love making music together. We enjoyed listening to these talented flautists as they played music that was classical romantic and playful. Solos by Julie Leach and Catherine Preston were much appreciated.
Combination and blend of voices and flutes was quite lovely and accompaniments by Barry Sugden (piano) and Nick Bury on double bass added interest in depth and rhythm.
It was a lovely evening of music which gave us all much enjoyment and lifted our spirits – just what we needed in these winter months.
D.H.

The treat in store this evening was four professional singers from Opera North in music ranging from the 18th century to the 19th century opening with Vivaldi’s ‘Gloria’ and ‘Et in terra pax’ with the choir in good voice followed by the solo soprano, Victoria Sharp, and mezzo-soprano, Hazel Croft, singing ‘Laudamus Te’ and Victoria Sharp singing the aria ‘Domine Deus Rex Coelestis’.

 We next encountered Mendelssohn’s Elijah, one of the ‘big three’ oratorios with the Messiah and The Creation. The aria ‘If with all your hearts’ was sung with style and panache by Campbell Russell (tenor), then lyrically ‘He Watching over Israel’ by the choir with a final reminder of the work by Paul Gibson (bass) singing ‘Lord God of Abraham’. Music like this inspires singers and players alike, making reputations in the process. Even today these pieces are part of the permanent church repertory.

The next two pieces would be unfamiliar to most, being masterly compositions by Beethoven from his Missa Solemnis. The work is rarely performed as it needs professional singers and players to tackle its complexities. Indeed many of the passages are appallingly difficult. The choir sang admirably in the ‘Kyrie’ and the society was grateful to Julia Killick who stepped in to lead the orchestra due to the unfortunate indisposition of Patricia Butterworth, the regular leader of the orchestra. The solo passage on the violin was beautiful in the ‘Sanctus’ and the singers excelled with their resonant voices.

The second half opened with the choir singing ‘See the Conquering Hero’ from Handel’s ‘Judas Maccabeus’ once again with some spirited singing and strong accompaniment from the orchestra.

The performance of the works this evening proved a fine achievement by the Society, bringing out the best of both Choir and Orchestra. They were clearly inspired by the professional singers and the quality and the range of compositions chosen by the Musical Director, Barry Sugden. The selection of music brought the best of everyone involved.

One might consider the second half, a pot-pourri from the Operatic world where the singers were in their element. The singers gave a short synopsis of Cosi Fan Tutti and Don Giovanni by Mozart to put the audience into the picture before singing the trio and duet from the respective operas. Afterwards the choir sang the Lacrimosa from Mozart’s Requiem and the Hostias, the latter sounding strangely modern being a prayer to the Host.

After this the tenor and bass sang the Pearl Fisher‘s Duet by Bizet demonstrating a beautiful balance in a thrilling performance that captured everyone’s attention.

The next treat came with the soprano and alto singing the lovely Barcarolle from ‘The Tales of Hoffman’ by Offenbach.

This was followed up with what is probably the most famous quartet ever composed in Italian Opera from Verdi‘s Rigoletto, composed in forty days. The orchestral writing is very complex and mirrors the singers admirably as they sing in perfect harmony. Its dramatisation contrasted sharply with the Choir singing ‘In Paradisum’ from Faure’s Requiem first played in the Madeleine in 1888. Here the composer concentrates on spiritual contemplation and an atmosphere of serenity which the choir displayed perfectly. This was a far cry from the bravado of Verdi in the previous piece.

Finally, the concert ended with three items from the Messiah where the audience were able to experience the joy of listening to Hazel and Victoria in the duet ‘He Shall feed his flock’ and Paul singing the ‘The trumpet shall sound’ accompanied by Chris Parsons in an accomplished performance on the trumpet.

The climax to the whole evening ended with the Hallelujah Chorus almost in homage to the beautiful singers from Opera North, demonstrating their worth on the vocal front.

The society was grateful thanks to those musicians who came to swell the orchestral ranks and to the conductor Barry Sugden, who works tirelessly for the Society. The quality of all the choral singers and orchestral musicians demonstrated what can be achieved by amateurs through the generosity of the Professionals who are prepared to share their love of music with Ramsbottom Choral Society and Orchestra. The audience too shared in the society’s joy by their support and undoubted enjoyment in the concert.
 
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Here was a concert that took everyone back in time, to the days of our youth and the Golden Era of the Broadway Musicals. All the pieces reflected the thoughts and aspirations of the people in their time through the genius of the lyricists and the composers. No wonder the audience revelled in the feast of voluptuous sounds from choir and orchestra who also excelled themselves to while away a summer’s evening in Bury.

In the singing of the Merry Widow by Franz Lehar, the operetta reminded us of the singing of Richard Tauber. The music being derived from the fringe benefits of Vienna’s rich illustrious past, through Beethoven. Mozart and Schubert. The chorus were in good voice.

The music from the Savoy Operas still resonates with us and we were rewarded with snippets from Ruddigore and the Mikado.” The Ghost’s High Noon” and “Titwillow together with “The Sun, whose Rays are all Ablaze” sung with eloquence and charm.

All the soloists acquitted themselves with flair through their undoubted musicianship and choice of items to link in with this evenings theme.

First, Patricia Chippendale playing the ‘Waltz’ from Tom Jones by Edward German on oboe. Pat and Harry Butterworth entranced us with ‘Ladies in Lavender’ by Hess and later in the programme by a violin solo from ‘Orpheus in the Underworld’ by Offenbach. It was also good to welcome Maurice Rushby, almost a regular to the societies’ concerts singing, in fine form, the ‘Toreador Song’ from Carmen by Bizet and the ‘Sentry’s Song’ from Iolanthe by Gilbert and Sullivan. Indeed, with his commanding presence, excellent voice and clear diction it was noticed that the audience sat up straight and listened!

The Andantino Singers continue to delight us with their tenderness and restraint especially in the ‘Elizabethan Serenade’ by Ronald Binge. Here one must mention the beautiful flute playing to introduce the Serenade which somehow set the tone admirably. Later in the programme Brian Milligan joined them by singing ‘Sit Down, You’re Rockin the Boat‘.

Another delightful pleasure came when Wendy Porter sang ‘Somewhere over the Rainbow’ followed by ‘I Could have Danced All Night’. No doubt every one could also listen to her all night she is such a lovely singer.

Finally, one must congratulate Ian and Janice Lewis for their performance, singing from Richard Rogers ‘Oklohoma’. After such a lovely concert the audience must have gone home singing snippets from the shows and tapping their feet in the car. All thanks to Musical Director Barry Sugden who works tirelessly for the Society in making musical arrangements to suit both choir and orchestra giving pleasure to all in abundance.

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