Haydn: The Seasons
Kendal South Choir directed by Geoffrey Field
Saturday 16th May 2026, Kendal Parish Church
One of Josef Haydn’s last great works, The Seasons is a joyous evocation of the pastoral
world that the composer, the son of a master wheelwright, had grown up in. This least
solemn of oratorios blends pastoral innocence with forward-looking harmonic language
and orchestral effects by way of a wide variety of styles, from Viennese Singspiel to
exciting fugal choruses that reflect Haydn’s encounter with Handel’s music in London.
These differing styles, each with their own musical delights and challenges, were
convincingly interpreted and performed by Kendal South Choir at their summer concert
in Kendal Parish Church on Saturday 16th May. Under the inspiring direction of their
Musical Director Geoffrey Field, together with three young soloists and an excellent
orchestra of local musicians, the Choir sang confidently and musically, evoking the
various characteristics of each season of the year. These included depictions of gentle
Spring scenes which contrasted with a tremendous hymn of praise to the wonderful,
powerful and merciful God; a glorious evocation of the sunrise followed by a dramatic
and dynamic thunderstorm in the Summer; a raucous hunt and an enthusiastic
celebration of the grape harvest in Autumn; then a final bringing together of the whole
year at the end of Winter in the chorus ‘Then comes the great and glorious morn’.
The three soloists, Ellie Blewitt (soprano), Kristen Gregory (tenor) and Jonny Hill (bass),
all sang with a maturity beyond their young ages, linking the choruses with scenesetting
recitatives and arias that were full of character and drama. The orchestra, under
the excellent leadership of Pamela Redman, accompanied the choir and soloists
superbly, as well as providing dramatic and witty imitations of dogs, quails, crickets,
frogs, spinning wheels and thunderstorms. Particular mention should go to the two horn
players who set the scene in the hunting chorus with gusto, their evocative and joyous
hunting calls inspiring the choir to even greater enthusiasm.
The whole performance was a tremendous tour-de-force, and a triumph for Kendal
South’s singers. The heartfelt applause, and cries of ‘Bravo’ that greeted the final chords
of the piece, must surely have made them feel that their hard work in rehearsals to learn
this lengthy but exciting piece had all been worthwhile.
Many congratulations to all involved, and I, for one, am looking forward to their next
concert on December 12th in Kendal.
H.I. 20th May 2026
world that the composer, the son of a master wheelwright, had grown up in. This least
solemn of oratorios blends pastoral innocence with forward-looking harmonic language
and orchestral effects by way of a wide variety of styles, from Viennese Singspiel to
exciting fugal choruses that reflect Haydn’s encounter with Handel’s music in London.
These differing styles, each with their own musical delights and challenges, were
convincingly interpreted and performed by Kendal South Choir at their summer concert
in Kendal Parish Church on Saturday 16th May. Under the inspiring direction of their
Musical Director Geoffrey Field, together with three young soloists and an excellent
orchestra of local musicians, the Choir sang confidently and musically, evoking the
various characteristics of each season of the year. These included depictions of gentle
Spring scenes which contrasted with a tremendous hymn of praise to the wonderful,
powerful and merciful God; a glorious evocation of the sunrise followed by a dramatic
and dynamic thunderstorm in the Summer; a raucous hunt and an enthusiastic
celebration of the grape harvest in Autumn; then a final bringing together of the whole
year at the end of Winter in the chorus ‘Then comes the great and glorious morn’.
The three soloists, Ellie Blewitt (soprano), Kristen Gregory (tenor) and Jonny Hill (bass),
all sang with a maturity beyond their young ages, linking the choruses with scenesetting
recitatives and arias that were full of character and drama. The orchestra, under
the excellent leadership of Pamela Redman, accompanied the choir and soloists
superbly, as well as providing dramatic and witty imitations of dogs, quails, crickets,
frogs, spinning wheels and thunderstorms. Particular mention should go to the two horn
players who set the scene in the hunting chorus with gusto, their evocative and joyous
hunting calls inspiring the choir to even greater enthusiasm.
The whole performance was a tremendous tour-de-force, and a triumph for Kendal
South’s singers. The heartfelt applause, and cries of ‘Bravo’ that greeted the final chords
of the piece, must surely have made them feel that their hard work in rehearsals to learn
this lengthy but exciting piece had all been worthwhile.
Many congratulations to all involved, and I, for one, am looking forward to their next
concert on December 12th in Kendal.
H.I. 20th May 2026
"A Season to Sing"
Kendal South Choir directed by Geoffrey Field
with Andy Plowman (organ) and AnnaKate Pearson (harp)
Saturday 6th December 2025
Stricklandgate Methodist Church, Kendal
It was a real pleasure to be part of the audience that witnessed last Saturday’s concert by Kendal South Choir. Congratulations are in order to all who took part to so effectively deliver such bold and imaginative fare – not least to their conductor Geoffrey Field who master-minded some lovely music-making.
The first half of the programme was taken up by a new work: ‘A Season to Sing’ by Joanna Forbes L’Estrange’. It is a ‘choral re-imagining’ of Vivaldi’s The Four Seasons and was published in 2025 to mark the 300th anniversary of its iconic predecessor. It was fitting too that Kendal South Choir were performing it this year, given that they were one of fifty-five choirs worldwide that co-commissioned the work. Vivaldi’s work was published with accompanying sonnets, descriptive of each season that his music was intended to evoke – an early example of programme music. L’Estrange’s sung text includes poetry, and passages from the Bible, the moods of the seasons now being captured by the skilful text settings and familiar music now re-worked for choir and organ. For example, in Summer Storm the choir not only delivers words from a Psalm but also sounds of rain falling and thunderclaps (finger clicking, patting thighs, foot stamping etc.) whilst the organ delivers much that Vivaldi wrote both for solo violinist and accompanying orchestra. In Winter Freeze the words are Vivaldi’s own, in the original Italian, and we hear the familiar teeth-chattering music. The choir are instructed to shiver.
The music is by no means all Vivaldi ‘arrangements’. The lovely and sombre opening and closing movements aren’t, nor is Cosy Indoors (part of Winter), which is a wordless nod to the 1960s Swingle Singers which L’Estrange has both sung with and directed in their later guise The Swingles. Its a delightful package and the choir did a splendid job delivering it, not least in the aforementioned storm and winter freeze. Their performance of To the Bagpipe’s Sound was enthusiastically rhythmic, and they did indeed make a Joyful Noise (part of Autumn) along with trumpet stop on the organ, played by Andy Plowman, who deserves huge praise for his virtuosic and supportive organ playing. His choice of registrations was always well judged, never drowning the singing, yet capturing the individuality of the solo (violinist’s) line.
In addition to the traditional singing of carols – complete with energetic audience participation - the second half contained two choral masterpieces, Benjamin Britten’s A Ceremony of Carols and Percy Fletcher’s Ring Out, Wild Bells. In the former, the choir was beautifully accompanied by the harp, played by AnnaKate Pearson. Its a demanding but delightful work, and there was much to enjoy throughout the performance. The evening was brought to a rousing conclusion with Tennyson’s words set to the music of Percy Fletcher “ring out the old, ring in the new…” The choir was perhaps at its best here - possibly relieved in the knowledge that the challenges of Britten and L’Estrange were behind them?
Challenges there were certainly, but Kendal South should know that their efforts in delivering such an enterprising programme, complete with a brand new work, were all very much appreciated especially at a time of year when concerts can often be very ‘traditional’. Thank-you!
John Hiley 8.12.25
The first half of the programme was taken up by a new work: ‘A Season to Sing’ by Joanna Forbes L’Estrange’. It is a ‘choral re-imagining’ of Vivaldi’s The Four Seasons and was published in 2025 to mark the 300th anniversary of its iconic predecessor. It was fitting too that Kendal South Choir were performing it this year, given that they were one of fifty-five choirs worldwide that co-commissioned the work. Vivaldi’s work was published with accompanying sonnets, descriptive of each season that his music was intended to evoke – an early example of programme music. L’Estrange’s sung text includes poetry, and passages from the Bible, the moods of the seasons now being captured by the skilful text settings and familiar music now re-worked for choir and organ. For example, in Summer Storm the choir not only delivers words from a Psalm but also sounds of rain falling and thunderclaps (finger clicking, patting thighs, foot stamping etc.) whilst the organ delivers much that Vivaldi wrote both for solo violinist and accompanying orchestra. In Winter Freeze the words are Vivaldi’s own, in the original Italian, and we hear the familiar teeth-chattering music. The choir are instructed to shiver.
The music is by no means all Vivaldi ‘arrangements’. The lovely and sombre opening and closing movements aren’t, nor is Cosy Indoors (part of Winter), which is a wordless nod to the 1960s Swingle Singers which L’Estrange has both sung with and directed in their later guise The Swingles. Its a delightful package and the choir did a splendid job delivering it, not least in the aforementioned storm and winter freeze. Their performance of To the Bagpipe’s Sound was enthusiastically rhythmic, and they did indeed make a Joyful Noise (part of Autumn) along with trumpet stop on the organ, played by Andy Plowman, who deserves huge praise for his virtuosic and supportive organ playing. His choice of registrations was always well judged, never drowning the singing, yet capturing the individuality of the solo (violinist’s) line.
In addition to the traditional singing of carols – complete with energetic audience participation - the second half contained two choral masterpieces, Benjamin Britten’s A Ceremony of Carols and Percy Fletcher’s Ring Out, Wild Bells. In the former, the choir was beautifully accompanied by the harp, played by AnnaKate Pearson. Its a demanding but delightful work, and there was much to enjoy throughout the performance. The evening was brought to a rousing conclusion with Tennyson’s words set to the music of Percy Fletcher “ring out the old, ring in the new…” The choir was perhaps at its best here - possibly relieved in the knowledge that the challenges of Britten and L’Estrange were behind them?
Challenges there were certainly, but Kendal South should know that their efforts in delivering such an enterprising programme, complete with a brand new work, were all very much appreciated especially at a time of year when concerts can often be very ‘traditional’. Thank-you!
John Hiley 8.12.25
Kendal Royal Charter 450th Anniversary celebration concert
Carmina Burana – Carl Orff, Kendal Parish Church 10.5.25
with Kendal South Choir, Amabile Choirs, FELLas Choir
It was a privilege to attend this concert in Kendal Parish Church last Saturday, part of the celebration of Kendal’s 450th anniversary of the granting of the Kendal Borough charter of incorporation by Queen Elizabeth 1st. It must have been gratifying not only for the organisers to see the church so well filled but also for the many performers who treated us to such a memorable evening.
The first half of the concert was given over to showcasing the main elements – the four choirs, the two pianists, and percussionist– that were to join forces after the interval to deliver Carl Orff’s exciting masterwork. Delightful singing from both Poco Amabile Choir and Amabile Choir started proceedings. Ken Forster and David Battersby on two pianos followed, with a C20th and virtuosic take on the C17th popular tune Lilliburlero. Paddy Davies’ contribution on snare drum was spellbinding. Both FELLas male voice choir and Kendal South Choir each contributed three songs. FELLas gave an energetic performance of Sing, John Ball, a C20th song written to commemorate the C14th Peasants’ Revolt. Kendal South’s performance of the C16th composer Orlando di Lasso’s Hark, hark, the Echo falling was most effective; one half of the choir placed behind the audience answering the other half in front.
These were the rich ingredients which along with the three vocal soloists then combined to perform Carmina Burana, brimful of expressive melodies and quirky rhythms, under the skilful direction of conductor Geoffrey Field, the ensemble brilliantly underpinned by the two pianists. The vocal soloists gave good accounts of their parts, not least from Emily Robinson in Dulcissime - a brief but florid cadenza including a high D! A feature of Carmina Burana is the extensive writing for percussion, and what a contribution we had from the five percussionists, a veritable ‘dream team’, flitting from one instrument to another. I lost count of the number of different instruments I heard. Amabile gave us many special moments, their young voices floating high above the company, as did Poco Amabile in the interpolations written for children. FELLas too had their moment of glory with a rumbustious account of When we are in the Tavern. And all combined with the excellent Kendal South Choir to produce a fine, full sound.
The whole evening was a triumph - a fitting contribution to Kendal’s 450th Anniversary
celebrations.
John Hiley
12th May 2025
Carmina Burana – Carl Orff, Kendal Parish Church 10.5.25
with Kendal South Choir, Amabile Choirs, FELLas Choir
It was a privilege to attend this concert in Kendal Parish Church last Saturday, part of the celebration of Kendal’s 450th anniversary of the granting of the Kendal Borough charter of incorporation by Queen Elizabeth 1st. It must have been gratifying not only for the organisers to see the church so well filled but also for the many performers who treated us to such a memorable evening.
The first half of the concert was given over to showcasing the main elements – the four choirs, the two pianists, and percussionist– that were to join forces after the interval to deliver Carl Orff’s exciting masterwork. Delightful singing from both Poco Amabile Choir and Amabile Choir started proceedings. Ken Forster and David Battersby on two pianos followed, with a C20th and virtuosic take on the C17th popular tune Lilliburlero. Paddy Davies’ contribution on snare drum was spellbinding. Both FELLas male voice choir and Kendal South Choir each contributed three songs. FELLas gave an energetic performance of Sing, John Ball, a C20th song written to commemorate the C14th Peasants’ Revolt. Kendal South’s performance of the C16th composer Orlando di Lasso’s Hark, hark, the Echo falling was most effective; one half of the choir placed behind the audience answering the other half in front.
These were the rich ingredients which along with the three vocal soloists then combined to perform Carmina Burana, brimful of expressive melodies and quirky rhythms, under the skilful direction of conductor Geoffrey Field, the ensemble brilliantly underpinned by the two pianists. The vocal soloists gave good accounts of their parts, not least from Emily Robinson in Dulcissime - a brief but florid cadenza including a high D! A feature of Carmina Burana is the extensive writing for percussion, and what a contribution we had from the five percussionists, a veritable ‘dream team’, flitting from one instrument to another. I lost count of the number of different instruments I heard. Amabile gave us many special moments, their young voices floating high above the company, as did Poco Amabile in the interpolations written for children. FELLas too had their moment of glory with a rumbustious account of When we are in the Tavern. And all combined with the excellent Kendal South Choir to produce a fine, full sound.
The whole evening was a triumph - a fitting contribution to Kendal’s 450th Anniversary
celebrations.
John Hiley
12th May 2025
Gloria!
St George's Church, Kendal
Saturday 16th November 2024
For both the Choir and the audience programming is everything. Saturday night’s concert in St George’s Church, Kendal, hit just the right notes – both ancient and modern.
The evening began with the Requiem completed in 1985 by Sir John Rutter, perhaps better known for his Christmas Carols. Although it was broadly inspired by Gabriel Faure’s Requiem, it does not actually quote from it, but reflects on the recent death of his father. The setting of the 23rd Psalm, which had been composed earlier, with its beautiful haunting melody for oboe, was captured on the organ by Andy Plowman, whose brilliant performance throughout the concert underpinned all three works and gave impeccable support to the choir and both soloists. This Requiem was especially chosen to commemorate the 80th anniversary of the D-Day landings. The choir’s poppies were a thoughtful additional touch.
In the second half we went back to the 18th century with Pergolesi’s Stabat Mater and Antonio Vivaldi’s much loved Gloria, which were executed with confidence and enthusiasm by chorus and soloists.
Ellie Blewitt (soprano) and Ellen Griffiths (mezzo-soprano) were outstanding in the Stabat Mater. Their beautiful tone and clear diction, especially in the duets, was memorable. We shall surely hear them again in the future. They were ably supported throughout this demanding work by the ladies of the chorus. This was an abridged version, and the soloists had the major part, singing both separately and together. Their voices blended seamlessly, and they sang with clarity and commitment.
Vivaldi’s Gloria is a joyful hymn of praise in 12 movements, and both soloists and full chorus came into their own. It is based on the Latin Mass and is scored using dotted rhythms and fugal motifs, bringing excitement and drama. Musical Director Geoffrey Field was an impressive conductor, who had everyone’s attention and clearly inspired their excellent performance.
Congratulations to everyone who provided this splendid evening of memorable music to help us prepare for the arrival of winter with thoughtfulness, optimism and hope.
D.A.S. November 2024
The evening began with the Requiem completed in 1985 by Sir John Rutter, perhaps better known for his Christmas Carols. Although it was broadly inspired by Gabriel Faure’s Requiem, it does not actually quote from it, but reflects on the recent death of his father. The setting of the 23rd Psalm, which had been composed earlier, with its beautiful haunting melody for oboe, was captured on the organ by Andy Plowman, whose brilliant performance throughout the concert underpinned all three works and gave impeccable support to the choir and both soloists. This Requiem was especially chosen to commemorate the 80th anniversary of the D-Day landings. The choir’s poppies were a thoughtful additional touch.
In the second half we went back to the 18th century with Pergolesi’s Stabat Mater and Antonio Vivaldi’s much loved Gloria, which were executed with confidence and enthusiasm by chorus and soloists.
Ellie Blewitt (soprano) and Ellen Griffiths (mezzo-soprano) were outstanding in the Stabat Mater. Their beautiful tone and clear diction, especially in the duets, was memorable. We shall surely hear them again in the future. They were ably supported throughout this demanding work by the ladies of the chorus. This was an abridged version, and the soloists had the major part, singing both separately and together. Their voices blended seamlessly, and they sang with clarity and commitment.
Vivaldi’s Gloria is a joyful hymn of praise in 12 movements, and both soloists and full chorus came into their own. It is based on the Latin Mass and is scored using dotted rhythms and fugal motifs, bringing excitement and drama. Musical Director Geoffrey Field was an impressive conductor, who had everyone’s attention and clearly inspired their excellent performance.
Congratulations to everyone who provided this splendid evening of memorable music to help us prepare for the arrival of winter with thoughtfulness, optimism and hope.
D.A.S. November 2024
Rejoice!
Stricklandgate Methodist Church
Saturday 18th May 2024
Rejoice! A programme of European sacred music through the ages. Kendal South Choir directed by Geoffrey Field, with Emily Robinson (soprano), Andy Plowman (organ)
What a delightful evening of music-making I was privileged to witness last Saturday, a musical journey from the Baroque to the present day providing an excellent vehicle for the rich and varied fare that the choir and soloists had to offer. The programme notes contained an informative timeline ‘Sacred music through time’ but it would have been helpful to have brief accounts of the individual works on offer. I have to admit I was unfamiliar with quite a lot of the repertoire but that, for me, was a pleasing ingredient of an absorbing evening. Perhaps that had made extra work learning the music, but all the participants should be congratulated on such a successful outcome, an outcome so clearly appreciated by a good audience.
The choir coped well with all the different demands of style that such a wide ranging period of repertoire made. It seemed least at home in Monteverdi and Anerio, works that make exacting demands on intonation, but there was much to commend throughout the evening. Geoffrey Field’s direction ensured that nothing flagged, tempi always purposeful, with well balanced ensemble.
Phrasing was carefully shaped throughout and there was plenty of dynamic subtlety. Brahms’ Geistliches Lied was an excellent example of that, bringing the first half to a reflective close with a rich piano. It was good to hear a choir that can sing pianissimo without losing the intensity of sound, for example in Reger’s Unser lieben Frauen Traum. There were many fine moments from all sections of the choir. We heard some nice moving lines in alto and tenor in Bach’s O Jesu Christ, mein Lebens Licht, and the small bass section gave a satisfying account of the first verse of Mendelssohn’s Verleih uns Frieden, and then, with altos, of the second verse. The sopranos, confident throughout, excelled themselves in Stanford’s For lo, I raise up, which received a thoroughly dramatic rendition, a fine tribute to the centenary of the composer’s death.
It is always a pleasure to hear soprano Emily Robinson and she contributed much to the evening’s success, both in support of the choral items and in her two solo ‘interludes’, one Baroque, the other Romantic. It was particularly rewarding that she sang without music, thoroughly engaging us in her performances. Highlights for me were her poised and attractively sonorous accounts of Holst’s The heart worships, and Chausson’s Pater noster. Andy Plowman deserves much praise too for his skilful and supportive organ playing. His choice of registrations was always imaginative and appropriate, never drowning the sound of either soloist or choir. The interplay with the soloist in Vivaldi’s Nulla in mundo and Handel’s Let the bright seraphim was a delight and his work in the Stanford and in Britten’s Rejoice in the Lamb virtuosic. The latter helped the conductor coax a fine performance from everyone including pleasing contributions from alto, tenor and bass soloists from the choir.
The concert was ‘book-ended’ by Mendelssohn’s lovely Hear my prayer which ‘incorporates’ O for the wings of a dove’. It was an excellent tactic. It settled both performers and listeners into the programme at the start, whilst the encore sent the audience away contented, grateful at having witnessed the results of months of endeavour so successfully brought to fruition.
John Hiley
20.5.24
What a delightful evening of music-making I was privileged to witness last Saturday, a musical journey from the Baroque to the present day providing an excellent vehicle for the rich and varied fare that the choir and soloists had to offer. The programme notes contained an informative timeline ‘Sacred music through time’ but it would have been helpful to have brief accounts of the individual works on offer. I have to admit I was unfamiliar with quite a lot of the repertoire but that, for me, was a pleasing ingredient of an absorbing evening. Perhaps that had made extra work learning the music, but all the participants should be congratulated on such a successful outcome, an outcome so clearly appreciated by a good audience.
The choir coped well with all the different demands of style that such a wide ranging period of repertoire made. It seemed least at home in Monteverdi and Anerio, works that make exacting demands on intonation, but there was much to commend throughout the evening. Geoffrey Field’s direction ensured that nothing flagged, tempi always purposeful, with well balanced ensemble.
Phrasing was carefully shaped throughout and there was plenty of dynamic subtlety. Brahms’ Geistliches Lied was an excellent example of that, bringing the first half to a reflective close with a rich piano. It was good to hear a choir that can sing pianissimo without losing the intensity of sound, for example in Reger’s Unser lieben Frauen Traum. There were many fine moments from all sections of the choir. We heard some nice moving lines in alto and tenor in Bach’s O Jesu Christ, mein Lebens Licht, and the small bass section gave a satisfying account of the first verse of Mendelssohn’s Verleih uns Frieden, and then, with altos, of the second verse. The sopranos, confident throughout, excelled themselves in Stanford’s For lo, I raise up, which received a thoroughly dramatic rendition, a fine tribute to the centenary of the composer’s death.
It is always a pleasure to hear soprano Emily Robinson and she contributed much to the evening’s success, both in support of the choral items and in her two solo ‘interludes’, one Baroque, the other Romantic. It was particularly rewarding that she sang without music, thoroughly engaging us in her performances. Highlights for me were her poised and attractively sonorous accounts of Holst’s The heart worships, and Chausson’s Pater noster. Andy Plowman deserves much praise too for his skilful and supportive organ playing. His choice of registrations was always imaginative and appropriate, never drowning the sound of either soloist or choir. The interplay with the soloist in Vivaldi’s Nulla in mundo and Handel’s Let the bright seraphim was a delight and his work in the Stanford and in Britten’s Rejoice in the Lamb virtuosic. The latter helped the conductor coax a fine performance from everyone including pleasing contributions from alto, tenor and bass soloists from the choir.
The concert was ‘book-ended’ by Mendelssohn’s lovely Hear my prayer which ‘incorporates’ O for the wings of a dove’. It was an excellent tactic. It settled both performers and listeners into the programme at the start, whilst the encore sent the audience away contented, grateful at having witnessed the results of months of endeavour so successfully brought to fruition.
John Hiley
20.5.24
Sing we to this Merry Company
Stricklandgate Methodist Church
Saturday 16th December 2023
Kendal South Choir – Christmas Concert – Saturday December 16th.
The re-location to Stricklandgate Methodist Church was, in my view, a happy accident. Although somewhat tight for space compared with St Thomas’s a much more intimate atmosphere was evident which enabled the audience to share in the music-making to real beneficial effect, especially in the second half during the 4 soloists’ songs. Also, at least viewed from the balcony, the layout of choir and instrumentalists was most attractive!
Handel’s ‘Messiah’, being perhaps the best known choral masterpiece, carries with it many challenges. Every choir and choral society has to tackle it at some time, audiences love it of course, but the pitfalls are many. Kendal South met the big concerted moments head on with vigour and commitment; ‘Glory to God’ and the ‘Hallelujah Chorus’ were everything one would hope for; the exposed semi-quaver passages elsewhere unsurprisingly revealed vocal weaknesses and imbalances of ensemble. But that’s ‘Messiah’ and in the brisk no-nonsense approach taken by Geoff Field still impresses. Throughout the conductor kept a tight hold on proceedings ably assisted by his extremely competent ensemble of local string players who, as ever, showed just how indebted are local choirs to them for their willing and skilled assistance. On the organ too Andy Plowman chose his registration with great sensitivity to make up for missing wind instruments.
It was a particular delight to hear 4 young soloists 2 of whom certainly were singing ‘Messiah’ for the first time. They all engaged with the piece thoroughly with Sam Weakley sounding especially authoritative in the two ‘darkness’ numbers and Ellie Blewitt singing with radiant clarity in ‘Rejoice greatly’.
Any organisation these days has to be aware of the competition for audiences with television and other home comforts. Coming out on a cold wet night is not an attractive proposition. Fortunately Stricklandgate Church is comfortable and warm but Kendal South ensured that we were all made welcome by the generous refreshments on offer following the most enjoyable ‘Messiah’ thus allowing us all to relax and socialise.
This mood was then maintained by the very varied choice of music in the second half including the opportunity for the audience to join in with several well-known carols which they did lustily, particularly in ‘While Shepherds Watched’ to the tune more familiarly known as ‘Ilkley Moor’. The music of the second half played, mostly, to the choir’s strengths particularly ‘O Holy Night’ and ‘In Dulci Jubilo’ with good ensemble and intonation, There was some uncertainty of rhythm in ‘Mary’s Boy Child’ but lots to enjoy in Geoff Field’s own intriguing take on the medieval text ‘Sing We to this Merry Company’.
The soloists too added much to the choir items and in their own songs: Aidan McCusker singing Peter Warlock’s exquisite ‘Bethlehem Down’ with lovely soft tone colour aided by Andy Plowman’s subtle interpretation of the accompaniment; Rebecca Anderson giving the moving ‘Sure on this Shining Night’ of Samuel Barber just the right amount of dynamic variation; Sam Weakley singing the Peter Cornelius ‘Three Kings’ with dignity and control; and Ellie Blewitt showing just how touching can be John Ireland’s simple song ‘The Holy Boy’.
Altogether it was a thoroughly pleasant evening of varied and always interesting music making for which Kendal South, its members and committee, should be well pleased.
Ian Jones
The re-location to Stricklandgate Methodist Church was, in my view, a happy accident. Although somewhat tight for space compared with St Thomas’s a much more intimate atmosphere was evident which enabled the audience to share in the music-making to real beneficial effect, especially in the second half during the 4 soloists’ songs. Also, at least viewed from the balcony, the layout of choir and instrumentalists was most attractive!
Handel’s ‘Messiah’, being perhaps the best known choral masterpiece, carries with it many challenges. Every choir and choral society has to tackle it at some time, audiences love it of course, but the pitfalls are many. Kendal South met the big concerted moments head on with vigour and commitment; ‘Glory to God’ and the ‘Hallelujah Chorus’ were everything one would hope for; the exposed semi-quaver passages elsewhere unsurprisingly revealed vocal weaknesses and imbalances of ensemble. But that’s ‘Messiah’ and in the brisk no-nonsense approach taken by Geoff Field still impresses. Throughout the conductor kept a tight hold on proceedings ably assisted by his extremely competent ensemble of local string players who, as ever, showed just how indebted are local choirs to them for their willing and skilled assistance. On the organ too Andy Plowman chose his registration with great sensitivity to make up for missing wind instruments.
It was a particular delight to hear 4 young soloists 2 of whom certainly were singing ‘Messiah’ for the first time. They all engaged with the piece thoroughly with Sam Weakley sounding especially authoritative in the two ‘darkness’ numbers and Ellie Blewitt singing with radiant clarity in ‘Rejoice greatly’.
Any organisation these days has to be aware of the competition for audiences with television and other home comforts. Coming out on a cold wet night is not an attractive proposition. Fortunately Stricklandgate Church is comfortable and warm but Kendal South ensured that we were all made welcome by the generous refreshments on offer following the most enjoyable ‘Messiah’ thus allowing us all to relax and socialise.
This mood was then maintained by the very varied choice of music in the second half including the opportunity for the audience to join in with several well-known carols which they did lustily, particularly in ‘While Shepherds Watched’ to the tune more familiarly known as ‘Ilkley Moor’. The music of the second half played, mostly, to the choir’s strengths particularly ‘O Holy Night’ and ‘In Dulci Jubilo’ with good ensemble and intonation, There was some uncertainty of rhythm in ‘Mary’s Boy Child’ but lots to enjoy in Geoff Field’s own intriguing take on the medieval text ‘Sing We to this Merry Company’.
The soloists too added much to the choir items and in their own songs: Aidan McCusker singing Peter Warlock’s exquisite ‘Bethlehem Down’ with lovely soft tone colour aided by Andy Plowman’s subtle interpretation of the accompaniment; Rebecca Anderson giving the moving ‘Sure on this Shining Night’ of Samuel Barber just the right amount of dynamic variation; Sam Weakley singing the Peter Cornelius ‘Three Kings’ with dignity and control; and Ellie Blewitt showing just how touching can be John Ireland’s simple song ‘The Holy Boy’.
Altogether it was a thoroughly pleasant evening of varied and always interesting music making for which Kendal South, its members and committee, should be well pleased.
Ian Jones
Rossini: Petite Messe Solennelle
Kendal Parish Church
Saturday 13th May 2023
Choral music is thriving in South Cumbria! Already 2023 has seen performances of several major choral and orchestral works given by various choirs in different venues and all to satisfyingly large audiences. Kendal South’s performance last Saturday was no exception!
This huge and joyous mass setting – it is neither ‘petite’ nor ‘solennelle’ – is an astonishing achievement. Rossini’s fame was based on his operas but his operatic pen had been silent for 30 years and in that time he had only written small-scale chamber works when suddenly, at the age of 72, he set about this piece calling it, rather whimsically, ‘the final sin of my old age’.
The work is scored for mixed voice choir and four soloists with the unusual combination of piano and harmonium as accompaniment. The latter were provided by Ken Forster and Andy Plowman. The piano part is a tour de force. Ken Forster has a distinguished reputation as a pianist and accompanist and this demanding role was met with great pianistic skill, sympathy and sensitivity made all the more remarkable given his distance from the singers and his need to stay with the conductor in spite of what the church acoustics made him hear! Andy Plowman, playing the small Bevington organ for the harmonium part, showed equal sensitivity in his much smaller role. He came into his own in the beautifully phrased and voiced ‘Prelude religieux’ solo late on in the performance.
The ‘Petite Messe’ offers challenging solo opportunities and the four young singers met them head-on with a high degree of success. Their arias are all of operatic proportions demanding great vocal flexibility and physical stamina. They are extended and intricate with modulations and chromaticisms which need careful handling and excellent intonation. Ellie Blewitt sang the strikingly beautiful melodies in the ‘Crucifixus’ and ‘O Salutaris’ with accuracy and purity of tone; Rebecca Anderson’s mezzo-soprano was well-matched with the soprano in the ‘Qui Tollis’ duet and she came into her own in the moving setting of the ‘Agnus Dei’. Henry Strutt was a most impressive tenor soloist. He has a real ‘presence’ and a lovely wide vocal range. The upward rising intervals which are such a feature of his ‘Domine Deus’ solo were despatched with ease and accuracy! The baritone soloist Sam Weakley provided a secure and supportive bass line for the quartet but found the composer utterly merciless in his extended setting of ‘Quoniam’ which taxed Sam’s upper range!
Kendal South Choir under Geoffrey Field’s enthusiastic leadership is in good heart and responded well to the varied demands of this two-hour-long piece. Extra voices drafted in to the tenor and bass sections ensured a well-balanced sound. (How one hopes that more men would come forward in response to every choir’s plea so that it wasn’t necessary to call for extra help!) The big concerted choral statements were very impressive; the forty-five strong choir have real strength when needed but also know how to vary the dynamic range most effectively. The many more contrapuntal passages sometimes lacked the clarity one would have liked but the resonant church acoustic didn’t help. Incisive entries and real self-confidence in the counterpoint were often missing but these are the most demanding aspects of choral singing and Geoffrey Field is clearly making great progress to achieve this with Kendal South.
The performance was greeted with enthusiastic and prolonged applause: GF and KSC are clearly well matched and ‘going places’! Long may it continue!
Ian Jones
This huge and joyous mass setting – it is neither ‘petite’ nor ‘solennelle’ – is an astonishing achievement. Rossini’s fame was based on his operas but his operatic pen had been silent for 30 years and in that time he had only written small-scale chamber works when suddenly, at the age of 72, he set about this piece calling it, rather whimsically, ‘the final sin of my old age’.
The work is scored for mixed voice choir and four soloists with the unusual combination of piano and harmonium as accompaniment. The latter were provided by Ken Forster and Andy Plowman. The piano part is a tour de force. Ken Forster has a distinguished reputation as a pianist and accompanist and this demanding role was met with great pianistic skill, sympathy and sensitivity made all the more remarkable given his distance from the singers and his need to stay with the conductor in spite of what the church acoustics made him hear! Andy Plowman, playing the small Bevington organ for the harmonium part, showed equal sensitivity in his much smaller role. He came into his own in the beautifully phrased and voiced ‘Prelude religieux’ solo late on in the performance.
The ‘Petite Messe’ offers challenging solo opportunities and the four young singers met them head-on with a high degree of success. Their arias are all of operatic proportions demanding great vocal flexibility and physical stamina. They are extended and intricate with modulations and chromaticisms which need careful handling and excellent intonation. Ellie Blewitt sang the strikingly beautiful melodies in the ‘Crucifixus’ and ‘O Salutaris’ with accuracy and purity of tone; Rebecca Anderson’s mezzo-soprano was well-matched with the soprano in the ‘Qui Tollis’ duet and she came into her own in the moving setting of the ‘Agnus Dei’. Henry Strutt was a most impressive tenor soloist. He has a real ‘presence’ and a lovely wide vocal range. The upward rising intervals which are such a feature of his ‘Domine Deus’ solo were despatched with ease and accuracy! The baritone soloist Sam Weakley provided a secure and supportive bass line for the quartet but found the composer utterly merciless in his extended setting of ‘Quoniam’ which taxed Sam’s upper range!
Kendal South Choir under Geoffrey Field’s enthusiastic leadership is in good heart and responded well to the varied demands of this two-hour-long piece. Extra voices drafted in to the tenor and bass sections ensured a well-balanced sound. (How one hopes that more men would come forward in response to every choir’s plea so that it wasn’t necessary to call for extra help!) The big concerted choral statements were very impressive; the forty-five strong choir have real strength when needed but also know how to vary the dynamic range most effectively. The many more contrapuntal passages sometimes lacked the clarity one would have liked but the resonant church acoustic didn’t help. Incisive entries and real self-confidence in the counterpoint were often missing but these are the most demanding aspects of choral singing and Geoffrey Field is clearly making great progress to achieve this with Kendal South.
The performance was greeted with enthusiastic and prolonged applause: GF and KSC are clearly well matched and ‘going places’! Long may it continue!
Ian Jones
Saturday 12th November 2022
Kendal South Choir, directed by Geoffrey Field, performed Feel the Spirit! by John Rutter and Mass in Blue by Will Todd with internationally acclaimed soloist Joanna Forbes L’Estrange and a Jazz Quartet led by Glenn Clifford Perkins.
The seven spirituals that make up Feel the Spirit! were exciting to listen to, with confident and energetic entries, well-handled harmonies and changes of key, and a good balance between choir and soloist. The band provided a fabulous accompaniment and the singers were clearly having a wonderful time. The audience joined in the last number When the Saints go marching in enthusiastically, making a fabulous close to the first half.
Mass in Blue is a challenging piece for soloist, choir and band, with a wide range of choral textures, styles and rhythmic patterns. Joanna Forbes L’Estrange brought tremendous energy and a lively interpretation of the score to her superb singing, which was echoed in the choir’s confident entries and the clarity of their timing and dynamic changes. There were lovely changes of mood between the different parts of the Mass, sympathetically accompanied by the band, together with clear chordal harmonies and a confident swing style.
In conclusion, a huge well done to all involved in bringing this all together. Geoffrey Field had the vision, and his hard work and energy in preparation made it all happen.
Well done to all concerned!
Kendal South Choir, directed by Geoffrey Field, performed Feel the Spirit! by John Rutter and Mass in Blue by Will Todd with internationally acclaimed soloist Joanna Forbes L’Estrange and a Jazz Quartet led by Glenn Clifford Perkins.
The seven spirituals that make up Feel the Spirit! were exciting to listen to, with confident and energetic entries, well-handled harmonies and changes of key, and a good balance between choir and soloist. The band provided a fabulous accompaniment and the singers were clearly having a wonderful time. The audience joined in the last number When the Saints go marching in enthusiastically, making a fabulous close to the first half.
Mass in Blue is a challenging piece for soloist, choir and band, with a wide range of choral textures, styles and rhythmic patterns. Joanna Forbes L’Estrange brought tremendous energy and a lively interpretation of the score to her superb singing, which was echoed in the choir’s confident entries and the clarity of their timing and dynamic changes. There were lovely changes of mood between the different parts of the Mass, sympathetically accompanied by the band, together with clear chordal harmonies and a confident swing style.
In conclusion, a huge well done to all involved in bringing this all together. Geoffrey Field had the vision, and his hard work and energy in preparation made it all happen.
Well done to all concerned!
An Evening with Haydn & Mozart, 14 May 2022
Those of us seeking an alternative to the Eurovision Song Contest were able to enjoy a pleasant evening’s music making presented by Kendal South Choir under the excellent leadership of Geoffrey Field and accompanied by Andy Plowman at the organ. Emily Robinson was the sensitive and sympathetic soloist.
The theme for the concert was to compare the settings of sacred and similar texts by Haydn and Mozart. Each half ended with a Missa Brevis and it was in these that the choir sang with most conviction and clear enjoyment, dealing confidently with the varying moods and dynamics. There were occasional difficulties with managing Haydn’s time changes and with some of the more chromatic passages in Mozart’s setting but there was a lovely use of the semi-chorus in this same work. In the Haydn one or two of the final ‘Amens’ were somewhat aggressive but this composer’s ‘Benedictus’ was particularly beautifully sung by
Emily Robinson with enthusiastic ‘Hosannas’ from the choir!
Mozart’s music was the theme for the music after the interval and the opening ‘Regina Coeli’ was bright and rhythmic with much enjoyable singing from the choir, particularly in the many ‘Alleluias’. This piece was one of several in the programme which gave Emily the opportunity to sing with great sensitivity and style. Her controlled use of vibrato, clear articulation and expressive dynamic range were most impressive and satisfying. Equally, in the earlier ‘Salve Regina’ by Haydn, she sang with delicacy and lightness of touch and the interplay between her and the choir was very pleasing.
The concert began with a ‘Non Nobis Domine’ by Haydn – an uncharacteristically sombre piece for this usually witty and inventive composer. This was perhaps not a wise choice to open proceedings; it took a while for everyone to relax into the variety of the pieces on offer. Fortunately Andy Plowman’s witty introduction to Haydn’s ‘Music for Mechanical Clock’ established the right mood to enjoy these extraordinary compositions which Andy played with his customary skill. Indeed Andy was undoubtedly the hero of the evening. He played throughout either as sympathetic accompanist or as virtuosic soloist and always with a real understanding for the most appropriate registration. All of us involved with choral singing locally are hugely indebted to the many instrumentalists on whom we can call for accompaniment and Andy Plowman is one of the best! He and Emily combined for three delightful Mozart solos in which the balance between voice and organ was perfect.
The concert closed with a rousing ‘Dona Nobis Pacem’ from soloist choir and organ which was followed by prolonged and well deserved applause. Choral singing is a long established tradition in South Cumbria; every choir is keen to attract new members but it is good that the likes of Kendal South are helping to keep the tradition alive and well and to rebuild after the pandemic. A glance in their concert programme also made clear that there is much more on offer in the coming months!
IWJ
The theme for the concert was to compare the settings of sacred and similar texts by Haydn and Mozart. Each half ended with a Missa Brevis and it was in these that the choir sang with most conviction and clear enjoyment, dealing confidently with the varying moods and dynamics. There were occasional difficulties with managing Haydn’s time changes and with some of the more chromatic passages in Mozart’s setting but there was a lovely use of the semi-chorus in this same work. In the Haydn one or two of the final ‘Amens’ were somewhat aggressive but this composer’s ‘Benedictus’ was particularly beautifully sung by
Emily Robinson with enthusiastic ‘Hosannas’ from the choir!
Mozart’s music was the theme for the music after the interval and the opening ‘Regina Coeli’ was bright and rhythmic with much enjoyable singing from the choir, particularly in the many ‘Alleluias’. This piece was one of several in the programme which gave Emily the opportunity to sing with great sensitivity and style. Her controlled use of vibrato, clear articulation and expressive dynamic range were most impressive and satisfying. Equally, in the earlier ‘Salve Regina’ by Haydn, she sang with delicacy and lightness of touch and the interplay between her and the choir was very pleasing.
The concert began with a ‘Non Nobis Domine’ by Haydn – an uncharacteristically sombre piece for this usually witty and inventive composer. This was perhaps not a wise choice to open proceedings; it took a while for everyone to relax into the variety of the pieces on offer. Fortunately Andy Plowman’s witty introduction to Haydn’s ‘Music for Mechanical Clock’ established the right mood to enjoy these extraordinary compositions which Andy played with his customary skill. Indeed Andy was undoubtedly the hero of the evening. He played throughout either as sympathetic accompanist or as virtuosic soloist and always with a real understanding for the most appropriate registration. All of us involved with choral singing locally are hugely indebted to the many instrumentalists on whom we can call for accompaniment and Andy Plowman is one of the best! He and Emily combined for three delightful Mozart solos in which the balance between voice and organ was perfect.
The concert closed with a rousing ‘Dona Nobis Pacem’ from soloist choir and organ which was followed by prolonged and well deserved applause. Choral singing is a long established tradition in South Cumbria; every choir is keen to attract new members but it is good that the likes of Kendal South are helping to keep the tradition alive and well and to rebuild after the pandemic. A glance in their concert programme also made clear that there is much more on offer in the coming months!
IWJ
A Christmas Celebration, 10 December 2021
A Christmas Celebration
Friday 10th December 2021, St Thomas's Church, Kendal
The choir must have been heartened to see such a large audience present for the Christmas Celebration on Friday, December 10. As noted in the programme notes, the last two years have been a difficult time for choirs nationwide with little or no singing in public allowed and so after such a long gap there was inevitably an air of celebration in this concert.
Part one of the concert had a Spanish flavour with six carols in Spanish. ‘Fum, fum, fum’, which opened the programme, began rather uncertainly with rhythmic untidiness and lapses in intonation but the remaining carols were more secure. The young Cumbrian guitarist Tom O’Neil provided an effective accompaniment and then presented three solos demonstrating his competence as a soloist.
Ariel Ramirez’s Navidad Nuestra brought part one to a close. This is a colourful work described as ‘A folk drama of the nativity based on rhythms and traditions of Hispanic America’. Each movement expresses the Christmas story in a popular style. The percussion players in the orchestra (suitably dressed in appropriate costume) clearly enjoyed themselves and helped to bring the work to life. The last movement ‘La Huida,’ describing Holy Family’s flight to escape persecution, was particularly effective as the choir followed Geoffrey Field’s excellent direction in taking the volume level down to illustrate the text.
Perhaps part two will linger more in the minds of anyone present because of our familiarity with the many carols that form the content of Vaughan Williams’ skilful ‘Fantasia on Christmas Carols’ and other carol settings which followed. Christopher Steele’s voice carried well in his solo sections and the opening cello introduction to the first carol, ‘This is the truth sent from above,’ was beautifully played by the first cellist. The choral singing sounded confident throughout with a robust contribution from the men in ‘Come all you worthy gentlemen’.
Of the remaining carols in the programme the most secure singing came in the performance of William Mathias’ ‘Sir Christèmas’ and the ubiquitous ‘Jingle Bells’.
Audience participation in four well-known carols was much enjoyed – particularly our rendition of ‘The Holly and the Ivy’ – which must have sent everyone home with a spring in their step.
Clive Walkley
Friday 10th December 2021, St Thomas's Church, Kendal
The choir must have been heartened to see such a large audience present for the Christmas Celebration on Friday, December 10. As noted in the programme notes, the last two years have been a difficult time for choirs nationwide with little or no singing in public allowed and so after such a long gap there was inevitably an air of celebration in this concert.
Part one of the concert had a Spanish flavour with six carols in Spanish. ‘Fum, fum, fum’, which opened the programme, began rather uncertainly with rhythmic untidiness and lapses in intonation but the remaining carols were more secure. The young Cumbrian guitarist Tom O’Neil provided an effective accompaniment and then presented three solos demonstrating his competence as a soloist.
Ariel Ramirez’s Navidad Nuestra brought part one to a close. This is a colourful work described as ‘A folk drama of the nativity based on rhythms and traditions of Hispanic America’. Each movement expresses the Christmas story in a popular style. The percussion players in the orchestra (suitably dressed in appropriate costume) clearly enjoyed themselves and helped to bring the work to life. The last movement ‘La Huida,’ describing Holy Family’s flight to escape persecution, was particularly effective as the choir followed Geoffrey Field’s excellent direction in taking the volume level down to illustrate the text.
Perhaps part two will linger more in the minds of anyone present because of our familiarity with the many carols that form the content of Vaughan Williams’ skilful ‘Fantasia on Christmas Carols’ and other carol settings which followed. Christopher Steele’s voice carried well in his solo sections and the opening cello introduction to the first carol, ‘This is the truth sent from above,’ was beautifully played by the first cellist. The choral singing sounded confident throughout with a robust contribution from the men in ‘Come all you worthy gentlemen’.
Of the remaining carols in the programme the most secure singing came in the performance of William Mathias’ ‘Sir Christèmas’ and the ubiquitous ‘Jingle Bells’.
Audience participation in four well-known carols was much enjoyed – particularly our rendition of ‘The Holly and the Ivy’ – which must have sent everyone home with a spring in their step.
Clive Walkley
Elijah, 4th May 2019
Mary Wakefield Festival 2019
Choral Celebration Day, 30th March
Adjudication by Will Prideaux
Rutter: The Sprig of Thyme and
Goodall: Eternal Light: A Requiem
24th November 2018
Under the expert direction of Don Gillthorpe, Kendal South Choir, along with a superb orchestral ensemble, presented us with the perfect antidote to all the pre Christmas hype we have been getting from multitudinous sources – long before the actual “real” time of Christmas, namely 25th December.
The choice of music for this concert was inspirational and refreshing. At times the music was very challenging but there were also some very musical moments.
The concert was divided into a secular first half with a delightful work by John Rutter called “the Sprig of Thyme”. This is a collection of some of the wonderful heritage we have of Folksongs from England, Ireland and Scotland. This has delightful moments in both the orchestral and choral parts. The choir sang with assurance, accuracy and superb diction. This could be even further improved by the singers looking happier!
These pieces were followed by two beautiful solo folksongs . The first, “The Fields of Athenry” sung by Sean Brines, a fine tenor with great potential, to his own guitar accompaniment. The second solo balanced out the folksongs of Britain by bringing in Wales, here Charles Murray, baritone, sang “The Ashgrove” arranged by Benjamin Britten. Like Sean, he is also a product of Huddersfield University where there must be fine vocal tuition available!
The second half of the evening was devoted to a fascinating work by Howard Goodall called “Eternal Light: A Requiem”. This is a Requiem with a difference. There are 10 movements which are shared between the Choir and soloists Emily Robinson soprano, Sean Baines tenor and Charles Murray, bass, and once again accompanied by the orchestral ensemble. Howard Goodall is a composer well-known for writing music in many styles (Blackadder, QI, The Vicar of Dibley to name a few) and this sees him in his serious mode. He was anxious to steer away from the conventional requiem, and this work is a mixture of biblical passages as well as poetry set to the music.
Some of the movements are far from easy but the singing was brought together by Don Gillthorpe's expert direction, and not forgetting the help the Choir have had from Assistant Directors Emma Richardson, Anne Pater and Geoffrey Field.
This is an impressive work which looks set to become a favourite Choral work amongst accomplished choirs.
MARGARET PATTINSON
The choice of music for this concert was inspirational and refreshing. At times the music was very challenging but there were also some very musical moments.
The concert was divided into a secular first half with a delightful work by John Rutter called “the Sprig of Thyme”. This is a collection of some of the wonderful heritage we have of Folksongs from England, Ireland and Scotland. This has delightful moments in both the orchestral and choral parts. The choir sang with assurance, accuracy and superb diction. This could be even further improved by the singers looking happier!
These pieces were followed by two beautiful solo folksongs . The first, “The Fields of Athenry” sung by Sean Brines, a fine tenor with great potential, to his own guitar accompaniment. The second solo balanced out the folksongs of Britain by bringing in Wales, here Charles Murray, baritone, sang “The Ashgrove” arranged by Benjamin Britten. Like Sean, he is also a product of Huddersfield University where there must be fine vocal tuition available!
The second half of the evening was devoted to a fascinating work by Howard Goodall called “Eternal Light: A Requiem”. This is a Requiem with a difference. There are 10 movements which are shared between the Choir and soloists Emily Robinson soprano, Sean Baines tenor and Charles Murray, bass, and once again accompanied by the orchestral ensemble. Howard Goodall is a composer well-known for writing music in many styles (Blackadder, QI, The Vicar of Dibley to name a few) and this sees him in his serious mode. He was anxious to steer away from the conventional requiem, and this work is a mixture of biblical passages as well as poetry set to the music.
Some of the movements are far from easy but the singing was brought together by Don Gillthorpe's expert direction, and not forgetting the help the Choir have had from Assistant Directors Emma Richardson, Anne Pater and Geoffrey Field.
This is an impressive work which looks set to become a favourite Choral work amongst accomplished choirs.
MARGARET PATTINSON
An Evening with Mozart
5th May 2018
Can you ever get too much Mozart? Apparently not, judging by last night's performance before a fair-sized audience for such a wonderfully warm, summer-like evening.
From the ‘off’ the choir gave a rousing and business-like start with the ‘Dixit Dominus’ from the first work of the evening – ‘Vesperae solennes de Confessore’.
This work was ably supported by an exciting quartet in the persons of Katy Thomson, soprano, Sarah Jillian Cox, mezzo-soprano, Jacob Clark, tenor, and Charles Murray, bass. I have to say that although the quartet blended well, in one instance the soprano was quite overwhelmed by the powerful, but excellent, voice of the mezzo.
After the interval we were treated to an organ solo by the indefatigable Ian Pattinson. He played the ‘Epistle sonata No 15 in C major’ – an excellent interlude to the singing. Ian is always good value and played this sensitively, as part of a church mass dictated.
The choir and soloists were supported by a very fine orchestra; tuning and ensemble were always good, although the addition of a double bass would have given welcome foundational tone.
The final work of the evening was The Coronation Mass, a work in six movements with confident singing throughout. When in top gear, Kendal South Choir never fails to excite and the singing is always of a very high standard. This excellent evening of music shows that Kendal South Choir’s enviable reputation is secure under their inspiring and enthusiastic conductor, Don Gillthorpe, who directed his forces with clarity and precision.
Well done to Assistant Director Emma Richardson, who has coached the choir during the term. This showed in the accuracy and confidence of the singers. Emma received a well-deserved round of applause with the orchestra and soloists at the conclusion of the concert.
C.M.
From the ‘off’ the choir gave a rousing and business-like start with the ‘Dixit Dominus’ from the first work of the evening – ‘Vesperae solennes de Confessore’.
This work was ably supported by an exciting quartet in the persons of Katy Thomson, soprano, Sarah Jillian Cox, mezzo-soprano, Jacob Clark, tenor, and Charles Murray, bass. I have to say that although the quartet blended well, in one instance the soprano was quite overwhelmed by the powerful, but excellent, voice of the mezzo.
After the interval we were treated to an organ solo by the indefatigable Ian Pattinson. He played the ‘Epistle sonata No 15 in C major’ – an excellent interlude to the singing. Ian is always good value and played this sensitively, as part of a church mass dictated.
The choir and soloists were supported by a very fine orchestra; tuning and ensemble were always good, although the addition of a double bass would have given welcome foundational tone.
The final work of the evening was The Coronation Mass, a work in six movements with confident singing throughout. When in top gear, Kendal South Choir never fails to excite and the singing is always of a very high standard. This excellent evening of music shows that Kendal South Choir’s enviable reputation is secure under their inspiring and enthusiastic conductor, Don Gillthorpe, who directed his forces with clarity and precision.
Well done to Assistant Director Emma Richardson, who has coached the choir during the term. This showed in the accuracy and confidence of the singers. Emma received a well-deserved round of applause with the orchestra and soloists at the conclusion of the concert.
C.M.
Rejoice in the Lamb
25th November 2017
22 November is the feast day of St Cecilia, the patron saint of music. It was also the birthday of Benjamin Britten, one of England's greatest composers. So it was fitting that Kendal South Choir should mark the occasion with an enterprising programme devoted to his works.
This is not easy music - the slow sustained vocal lines, rapid tongue twisters, intricate harmonies and jazzy rhythms test even the most professional choirs. Don Gillthorpe coaxed miracles from his singers - the odd mishap did not matter. Furthermore he had assembled a lineup of young soloists who were a joy to watch and hear.
In the first item Rejoice in the Lamb the marvellously contrasted solos were sung by Sieberen Granger, India Harding, Daniel Kozma-Percy and Adam Hilton. Festival Te Deum gave us a chance to hear the mellifluous soprano of Lauren Osmond. Much to commend here, but the opening section seemed too slow, and the ornaments in the organ chords should be on the beat - as a result we lost a sense of direction. Jubilate Deo in C brought the first half to a sparkling conclusion. The excellent organist was Adrian Self.
It was an intriguing idea to alternate spoken Christmas poems with the movements of Ceremony of Carols. Presumably because Ceremony on its own would have made too short a second half! Unfortunately for me it didn't work despite beautiful individual narrations from members of the choir. Momentum was lost and Britten's masterpiece is so carefully structured anyhow.
Emma Richardson directed a convincing performance but some of her slow speeds made tuning and breathing difficult for the choir. The notoriously difficult In freezing winter night was well done, as were the rhythmic intricacies of This little Babe.
The harpist, AnnaKate Pearson, was outstanding. Two solos in the first half - one French and one Welsh - were a welcome contrast to the Britten pieces. Her sympathetic accompaniment and ravishing solo interlude in Ceremony of Carols transported us to a realisation of the magical innocence of Christmas.
JONATHAN BIELBY
This is not easy music - the slow sustained vocal lines, rapid tongue twisters, intricate harmonies and jazzy rhythms test even the most professional choirs. Don Gillthorpe coaxed miracles from his singers - the odd mishap did not matter. Furthermore he had assembled a lineup of young soloists who were a joy to watch and hear.
In the first item Rejoice in the Lamb the marvellously contrasted solos were sung by Sieberen Granger, India Harding, Daniel Kozma-Percy and Adam Hilton. Festival Te Deum gave us a chance to hear the mellifluous soprano of Lauren Osmond. Much to commend here, but the opening section seemed too slow, and the ornaments in the organ chords should be on the beat - as a result we lost a sense of direction. Jubilate Deo in C brought the first half to a sparkling conclusion. The excellent organist was Adrian Self.
It was an intriguing idea to alternate spoken Christmas poems with the movements of Ceremony of Carols. Presumably because Ceremony on its own would have made too short a second half! Unfortunately for me it didn't work despite beautiful individual narrations from members of the choir. Momentum was lost and Britten's masterpiece is so carefully structured anyhow.
Emma Richardson directed a convincing performance but some of her slow speeds made tuning and breathing difficult for the choir. The notoriously difficult In freezing winter night was well done, as were the rhythmic intricacies of This little Babe.
The harpist, AnnaKate Pearson, was outstanding. Two solos in the first half - one French and one Welsh - were a welcome contrast to the Britten pieces. Her sympathetic accompaniment and ravishing solo interlude in Ceremony of Carols transported us to a realisation of the magical innocence of Christmas.
JONATHAN BIELBY
Magnificat
6th May 2017
Kendal South Choir
‘Magnificat’
Saturday May 6th, 2017
St Thomas’s Church, Kendal
A large audience was treated to a skilfully devised programme on the theme of Mary, starting with a setting of the Magnificat by Vivaldi which choir, soloists and orchestra performed with evident enjoyment. The nine short movements were well contrasted in style with a splendidly concerted opening and some well negotiated rhythms in later movements. A chamber organ would have suited the music better than the resident organ and it was perhaps a shame that the gaps between movements were quite so long but the four soloists, Katy Thompson, Sarah Jillian Cox, Jacob Clark and Charlie Murray were stylistic and well matched.
Five short unaccompanied pieces for the choir followed including a movement from the Rachmaninov ‘Vespers’ which suited the choir well and created a convincing Russian sound. Maintaining pitch was a problem occasionally, particularly in the pieces by Grieg and Britten, but never so much as to spoil the enjoyment of some very sensitive singing.
The triumph of the evening was a new work – ‘Magnificat’ by Lancaster-born Oliver Tarney – which was receiving its first Kendal performance. Once again the four soloists were splendid: confident in their intonation and committed to the text. Kendal South responded very well indeed to the physical and vocal demands of this very substantial piece. The performance was entirely convincing and frequently very moving as the composer captured the very human responses which Mary and Joseph must have felt to their situation. Most impressive of all was the writing for the orchestra which was played superbly by the strings, percussion and piano, led by Jill Jackson.
Altogether this was a most rewarding evening’s music-making and the choir, under Don Gillthorpe’s guidance are to be congratulated!
IAN JONES
‘Magnificat’
Saturday May 6th, 2017
St Thomas’s Church, Kendal
A large audience was treated to a skilfully devised programme on the theme of Mary, starting with a setting of the Magnificat by Vivaldi which choir, soloists and orchestra performed with evident enjoyment. The nine short movements were well contrasted in style with a splendidly concerted opening and some well negotiated rhythms in later movements. A chamber organ would have suited the music better than the resident organ and it was perhaps a shame that the gaps between movements were quite so long but the four soloists, Katy Thompson, Sarah Jillian Cox, Jacob Clark and Charlie Murray were stylistic and well matched.
Five short unaccompanied pieces for the choir followed including a movement from the Rachmaninov ‘Vespers’ which suited the choir well and created a convincing Russian sound. Maintaining pitch was a problem occasionally, particularly in the pieces by Grieg and Britten, but never so much as to spoil the enjoyment of some very sensitive singing.
The triumph of the evening was a new work – ‘Magnificat’ by Lancaster-born Oliver Tarney – which was receiving its first Kendal performance. Once again the four soloists were splendid: confident in their intonation and committed to the text. Kendal South responded very well indeed to the physical and vocal demands of this very substantial piece. The performance was entirely convincing and frequently very moving as the composer captured the very human responses which Mary and Joseph must have felt to their situation. Most impressive of all was the writing for the orchestra which was played superbly by the strings, percussion and piano, led by Jill Jackson.
Altogether this was a most rewarding evening’s music-making and the choir, under Don Gillthorpe’s guidance are to be congratulated!
IAN JONES
Mary Wakefield Festival 2017
Choral Celebration Day, 25th March
Adjudication by Rachael Lee
Haydn: The Creation
7th May 2016
Last night's concert was a joyous, yet sad, occasion: joyous because Kendal South Choir (KSC) have never sung better, and sad because it was a concert which marked the last time their Director of Music, Ian Thompson, will be in the driving seat of this wonderful choir.
Haydn's Creation is a lengthy work which the choir tackled with great gusto. I was really held by this marvellously tuneful performance and must mention the duet and chorus in Part 3, 'By thee with bliss' and, of course, The heavens are telling' in Part 1.
The supporting soloists were Laurie Ashworth (soprano), Ian Caddy (bass) and Richard Pollock (tenor), all of whom gave great performances - although the tenor did tend to put his foot on the loud pedal at times! Some very powerful and yet sensitive singing.
The orchestra appears to have grown in size since their last concert, but their playing was spectacular and, with some sweet notes from the cello, were very sensitive during the solos.
This performance was excellent and a fitting tribute to Ian Thompson, whose dedication, direction and general graft made sure he went out in a blaze of glory! I am sure the choir will miss him.
Well done everyone!
CHRISTINE MOORE
Haydn's Creation is a lengthy work which the choir tackled with great gusto. I was really held by this marvellously tuneful performance and must mention the duet and chorus in Part 3, 'By thee with bliss' and, of course, The heavens are telling' in Part 1.
The supporting soloists were Laurie Ashworth (soprano), Ian Caddy (bass) and Richard Pollock (tenor), all of whom gave great performances - although the tenor did tend to put his foot on the loud pedal at times! Some very powerful and yet sensitive singing.
The orchestra appears to have grown in size since their last concert, but their playing was spectacular and, with some sweet notes from the cello, were very sensitive during the solos.
This performance was excellent and a fitting tribute to Ian Thompson, whose dedication, direction and general graft made sure he went out in a blaze of glory! I am sure the choir will miss him.
Well done everyone!
CHRISTINE MOORE
Music for Passiontide
20th February 2016
It is a fact that South Lakes in general, and Kendal in particular, has an excellent record of making music covering many genres. I once counted 71 concerts in one season between October and December - difficult to attend most or all of them. Kendal South Choir has a reputation for being amongst that truly great tradition.
The' Music for Passiontide' programme began with Stainer's 'Crucifixion'. It was explained beforehand that, due to an unfortunate accident, Jolyon Dodgson's place would be taken by Stuart Orme, baritone. The other soloist was Alexander Banfield, tenor, who started the work with a most beautiful recitative, which set the scene for the whole work. What a joyous opening! Accompanying throughout the evening was Ian Pattison at the organ - Ian, a great stalwart in this area, and a boon to choirs.
The choir were on top form, buoyed up, I suspect, by the fine support of these two soloists who looked about 19, but what voices and, of course, they were young! I don't know if they had ever sung together before, but their voices blended beautifully. Full marks for choice!
Ian Thompson had really worked hard with the choir and it showed. There was some real drama about the work which was evident in their faces. Three male soloists from the choir performed valiantly. I always think this is a big ask when professional soloists are standing by. Good, even choral singing and great to hear the choir sing as one, especially during the audience participation hymns - we could have been in a cathedral.
After the interval there followed two excerpts from St Matthew Passion - again excellent singing although several sopranos sounded a little reedy. This was followed by Bach's 'Prelude and Fugue in B minor' played dramatically on the organ by Ian Thompson. Then followed 'Five Mystical Songs' by R Vaughan Williams: Easter; I got me flowers; Love bade me welcome; The Call and Antiphon - all beautifully sung, save for the hiatus during song three when the organ appeared to catch fire and business was temporarily halted until the caretaker proclaimed all was well and it was the fault of an overheated lamp!
I look forward to Kendal South's next offering (and sadly Ian Thompson's last) - The Haydn Creation on May 7th.
CHRISTINE MOORE
21.2.2016
The' Music for Passiontide' programme began with Stainer's 'Crucifixion'. It was explained beforehand that, due to an unfortunate accident, Jolyon Dodgson's place would be taken by Stuart Orme, baritone. The other soloist was Alexander Banfield, tenor, who started the work with a most beautiful recitative, which set the scene for the whole work. What a joyous opening! Accompanying throughout the evening was Ian Pattison at the organ - Ian, a great stalwart in this area, and a boon to choirs.
The choir were on top form, buoyed up, I suspect, by the fine support of these two soloists who looked about 19, but what voices and, of course, they were young! I don't know if they had ever sung together before, but their voices blended beautifully. Full marks for choice!
Ian Thompson had really worked hard with the choir and it showed. There was some real drama about the work which was evident in their faces. Three male soloists from the choir performed valiantly. I always think this is a big ask when professional soloists are standing by. Good, even choral singing and great to hear the choir sing as one, especially during the audience participation hymns - we could have been in a cathedral.
After the interval there followed two excerpts from St Matthew Passion - again excellent singing although several sopranos sounded a little reedy. This was followed by Bach's 'Prelude and Fugue in B minor' played dramatically on the organ by Ian Thompson. Then followed 'Five Mystical Songs' by R Vaughan Williams: Easter; I got me flowers; Love bade me welcome; The Call and Antiphon - all beautifully sung, save for the hiatus during song three when the organ appeared to catch fire and business was temporarily halted until the caretaker proclaimed all was well and it was the fault of an overheated lamp!
I look forward to Kendal South's next offering (and sadly Ian Thompson's last) - The Haydn Creation on May 7th.
CHRISTINE MOORE
21.2.2016
Hymn of Praise
10th October 2015
Mendelssohn's Hymn of Praise got off to a flying start thanks to the expertise at the organ of Ian Pattinson. The rousing chorus which followed set the programme in good stead, though not all watched the conductor!
What followed in this piece was sensitively sung with good light and shade – indeed some joyous singing and the best rendition of this work I have heard to date. Clear, crisp singing by the two sopranos: Emily Robinson (whose voice I have often enjoyed) and Fiona Weakley – new to me but equally enjoyable. The solo line-up was completed by the welcome return of Christopher Steele (tenor) – always good value to any ensemble – and took "The sorrows of death" by the scruff of the neck – excellent!
"The night is departing" was not quite together, but was more than made up for in the following "Let all men praise the Lord", which contained the tune to the popular hymn, "Now thank we all our God".
Following the interval we were treated to some fine singing, especially from the gentlemen of the chorus, with two English anthems: Bairstow's "Blessed City, heavenly Salem" and Wesley's "Blessed be the God and Father". This was followed by three duets for soprano by Handel – none recognisable by title, but all recognisable by tune. Then came Vaughan Williams' "Toward the Unknown Region". The choir performed this about two years ago with the Westmorland Orchestra and it had lost none of its pace and musicality – quite a difficult work to learn.
Finally, two tenor arias: Verdi's "Questa o quella" and "Un di all'azzurro spazio" by Giordano and sung with great gusto. Then two opera choruses: Rossini's "Prayer" and "The Easter Hymn" by Mascagni. What a way to close a show – I was transported! Thanks to the conductor, Ian Thompson, for steering the choir through such a well-balanced programme.
CHRISTINE MOORE
12.10.15
What followed in this piece was sensitively sung with good light and shade – indeed some joyous singing and the best rendition of this work I have heard to date. Clear, crisp singing by the two sopranos: Emily Robinson (whose voice I have often enjoyed) and Fiona Weakley – new to me but equally enjoyable. The solo line-up was completed by the welcome return of Christopher Steele (tenor) – always good value to any ensemble – and took "The sorrows of death" by the scruff of the neck – excellent!
"The night is departing" was not quite together, but was more than made up for in the following "Let all men praise the Lord", which contained the tune to the popular hymn, "Now thank we all our God".
Following the interval we were treated to some fine singing, especially from the gentlemen of the chorus, with two English anthems: Bairstow's "Blessed City, heavenly Salem" and Wesley's "Blessed be the God and Father". This was followed by three duets for soprano by Handel – none recognisable by title, but all recognisable by tune. Then came Vaughan Williams' "Toward the Unknown Region". The choir performed this about two years ago with the Westmorland Orchestra and it had lost none of its pace and musicality – quite a difficult work to learn.
Finally, two tenor arias: Verdi's "Questa o quella" and "Un di all'azzurro spazio" by Giordano and sung with great gusto. Then two opera choruses: Rossini's "Prayer" and "The Easter Hymn" by Mascagni. What a way to close a show – I was transported! Thanks to the conductor, Ian Thompson, for steering the choir through such a well-balanced programme.
CHRISTINE MOORE
12.10.15
Messiah
13th December 2014
Choir excels in emotional Messiah
"If you were not at Kendal South Choir's performance of Messiah, then be very sad, for you missed a deeply moving experience.
"Soloists Laurie Ashworth, Sarah Jillian Cox, Richard Pollock and Paul im Thurn sang with great feeling and the choir truly excelled. Always responsive to Director of Music Ian Thompson they ranged from quiet and intense to joyful and triumphant.
"The whispering at the start of "For unto us a child is born" would not have woken the babe, but the rapturous "Wonderful, Counsellor" was spine tingling as all voices blended beautifully - splendidly accompanied by Lonsdale Baroque Ensemble (leader Julian Cann) and Ian Pattinson on the organ.
"This was a performance where every word could be heard and was sung beautifully and with conviction. It was like hearing Messiah for the first time."
MOIRA GREENHALGH
Westmorland Gazette
January 1 2015
And a letter to the Westmorland Gazette (23rd December) from a satisfied customer:
"If you were not at Kendal South Choir's performance of Messiah, then be very sad, for you missed a deeply moving experience.
"Soloists Laurie Ashworth, Sarah Jillian Cox, Richard Pollock and Paul im Thurn sang with great feeling and the choir truly excelled. Always responsive to Director of Music Ian Thompson they ranged from quiet and intense to joyful and triumphant.
"The whispering at the start of "For unto us a child is born" would not have woken the babe, but the rapturous "Wonderful, Counsellor" was spine tingling as all voices blended beautifully - splendidly accompanied by Lonsdale Baroque Ensemble (leader Julian Cann) and Ian Pattinson on the organ.
"This was a performance where every word could be heard and was sung beautifully and with conviction. It was like hearing Messiah for the first time."
MOIRA GREENHALGH
Westmorland Gazette
January 1 2015
And a letter to the Westmorland Gazette (23rd December) from a satisfied customer:
Faure Requiem and Other French Music
25th January 2014
"Kendal South Choir brought a little French warmth to Kendal on a cold January evening when the singers, with organist, Hugh Davies, soloists Tracie Penwarden and Jolyon Dodgson, all under the direction of Ian Thompson, presented a programme of 19th century music from across the channel.
"Part one of their programme was given over to a performance of Faure's lovely Requiem.
"The choral singing was impressive in loud passages (the men's cry of 'Hosanna' in the Sanctus was particularly thrilling) but less so in passages intended by the composer to be sung quietly, when there was a tendency for the pitch to drop in the soprano section.
"Perhaps breath control was the issue here as there was a noticeable tendency for the singers to break up Faure's long lines into shorter phrase lengths.
"Tracie and Jolyon gave a good account of their respective solos, and Hugh gave the choir firm support, coaxing some French tone colours out of the church's electronic organ.
"The second half of the concert consisted of shorter items by Berlioz, more Faure, Louis Vierne, Saint Saens and Cesar Franck.
"The latter's stirring setting of Psalm 150 clearly suited the singers: aided by the resonant acoustic of St Thomas's, they filled the space with sound and were warmly applauded as a reward."
CLIVE WALKLEY
Westmorland Gazette
6th February 2014
"Part one of their programme was given over to a performance of Faure's lovely Requiem.
"The choral singing was impressive in loud passages (the men's cry of 'Hosanna' in the Sanctus was particularly thrilling) but less so in passages intended by the composer to be sung quietly, when there was a tendency for the pitch to drop in the soprano section.
"Perhaps breath control was the issue here as there was a noticeable tendency for the singers to break up Faure's long lines into shorter phrase lengths.
"Tracie and Jolyon gave a good account of their respective solos, and Hugh gave the choir firm support, coaxing some French tone colours out of the church's electronic organ.
"The second half of the concert consisted of shorter items by Berlioz, more Faure, Louis Vierne, Saint Saens and Cesar Franck.
"The latter's stirring setting of Psalm 150 clearly suited the singers: aided by the resonant acoustic of St Thomas's, they filled the space with sound and were warmly applauded as a reward."
CLIVE WALKLEY
Westmorland Gazette
6th February 2014
Rossini Petite Messe Solennelle,
13th April 2013
Baroquefest, 8th December 2012
Baroque at its best
Kendal South Choir
St Thomas’s Church, Kendal
Baroque-Fest was the title of the Kendal South Choir concert – and it certainly lived up to expectations, with both the choir and the Lonsdale Baroque Ensemble on fine form.
Conductor Ian Thompson showed skill in multi-tasking, not only creating a cohesive and satisfying result in Purcell’s Te Deum and Sing unto the Lord but also showing keyboard virtuosity as soloist in Handel’s delightful Cuckoo and Nightingale Concerto. Four fine soloists made a stylish contribution.
When Bach wrote his virtuosic Cantata 51 he must have had a really good soprano and trumpeter at hand. Soprano Jacqueline Pischorn coped valiantly, but Stella FitzGerald’s superb trumpet playing stole the show.
Two 20th Century pieces, Britten’s A Hymn to the Virgin and Philip Wood’s Look up, sweet babe might have been unexpected in the programme, but Handel’s two Coronation anthems, Zadok the Priest and The King shall rejoice, were glorious, the vibrant singing and fine playing bringing alive this magnificent music. Let’s hope they will be heard again in 2013 for the anniversary of the Coronation.
C FAWTHROP
Westmorland Gazette
December 27 2012
Kendal South Choir
St Thomas’s Church, Kendal
Baroque-Fest was the title of the Kendal South Choir concert – and it certainly lived up to expectations, with both the choir and the Lonsdale Baroque Ensemble on fine form.
Conductor Ian Thompson showed skill in multi-tasking, not only creating a cohesive and satisfying result in Purcell’s Te Deum and Sing unto the Lord but also showing keyboard virtuosity as soloist in Handel’s delightful Cuckoo and Nightingale Concerto. Four fine soloists made a stylish contribution.
When Bach wrote his virtuosic Cantata 51 he must have had a really good soprano and trumpeter at hand. Soprano Jacqueline Pischorn coped valiantly, but Stella FitzGerald’s superb trumpet playing stole the show.
Two 20th Century pieces, Britten’s A Hymn to the Virgin and Philip Wood’s Look up, sweet babe might have been unexpected in the programme, but Handel’s two Coronation anthems, Zadok the Priest and The King shall rejoice, were glorious, the vibrant singing and fine playing bringing alive this magnificent music. Let’s hope they will be heard again in 2013 for the anniversary of the Coronation.
C FAWTHROP
Westmorland Gazette
December 27 2012
Brahms Requiem, 28th April 2012
Choir rises to challenge
Under the direction of Ian Thompson, Kendal South Choir presented a well-balanced, sensitive rendering of Brahms Requiem and followed this with choruses from well-known operas by Handel, Mozart, Verdi and Mascagni. The Requiem is a challenge for any choir and Kendal South gave us some beautiful musical moments, though I did feel their stamina was flagging near the end. I feel credit must be given to the tenors and basses who were on particularly fine vocal form!
Ian Pattinson accompanied the singing on the Copeman Hart organ at St Thomas’s Church, and by very skilful registrations and beautiful playing provided a very good substitute for a real orchestra. A superb professional timpanist was included who added greatly to the dramatic effect with his expert and sensitive playing.
After the interval the two soloists, Laurie Ashworth and David Rees-Jones, who were a joy to listen to throughout the evening, delighted the audience with a duet from Mozart’s Magic Flute and the choir moved expertly from the elevated sentiments of Brahms to exciting opera choruses. This, I did think, was inspired programming by Ian Thompson and a good way to lighten the evening. The audience obviously enjoyed listening!
MARGARET PATTINSON
Westmorland Gazette
Thursday May 10 2012
Under the direction of Ian Thompson, Kendal South Choir presented a well-balanced, sensitive rendering of Brahms Requiem and followed this with choruses from well-known operas by Handel, Mozart, Verdi and Mascagni. The Requiem is a challenge for any choir and Kendal South gave us some beautiful musical moments, though I did feel their stamina was flagging near the end. I feel credit must be given to the tenors and basses who were on particularly fine vocal form!
Ian Pattinson accompanied the singing on the Copeman Hart organ at St Thomas’s Church, and by very skilful registrations and beautiful playing provided a very good substitute for a real orchestra. A superb professional timpanist was included who added greatly to the dramatic effect with his expert and sensitive playing.
After the interval the two soloists, Laurie Ashworth and David Rees-Jones, who were a joy to listen to throughout the evening, delighted the audience with a duet from Mozart’s Magic Flute and the choir moved expertly from the elevated sentiments of Brahms to exciting opera choruses. This, I did think, was inspired programming by Ian Thompson and a good way to lighten the evening. The audience obviously enjoyed listening!
MARGARET PATTINSON
Westmorland Gazette
Thursday May 10 2012
Christmas Concert 2011
Messiah a real crowd pleaser
A performance of Handel's Messiah can be guaranteed to attract a large audience: such was the case when Kendal South Choir, under Ian Thompson, presented the work in Kendal.
This was a well-prepared performance. The work requires choral stamina - an ability to produce a light and airy sound; at the same time to maintain rhythmic drive and energy. The many florid choruses were taken at a manageable speed and, in general, the choir coped well and showed only occasional signs of strain.
The chorus 'He trusted in God' was particularly impressive for its vitality.
Instrumentally, it was refreshing to hear the Pastoral Symphony - a shepherds' dance - performed by wind instruments. Allocating this passage to oboes and bassoon instead of the usual muted strings emphasises the rustic nature of this music.
The four professional soloists, all with local connections, acquitted themselves well in the arias and recitatives. There were moments of great tenderness from soprano Charlotte Jackson, and mezzo-soprano Emma Stannard (a former pupil of Charlotte's).
Tenor and bass soloists, Adam Smith and Paul im Thurn, were impressive in their portrayal of emotions, from exaltation to rage, and Lonsdale Baroque Ensemble, a small string and wind band, provided a stylish accompaniment throughout.
CLIVE WALKLEY
Westmorland Gazette
Thursday December 22, 2011
A performance of Handel's Messiah can be guaranteed to attract a large audience: such was the case when Kendal South Choir, under Ian Thompson, presented the work in Kendal.
This was a well-prepared performance. The work requires choral stamina - an ability to produce a light and airy sound; at the same time to maintain rhythmic drive and energy. The many florid choruses were taken at a manageable speed and, in general, the choir coped well and showed only occasional signs of strain.
The chorus 'He trusted in God' was particularly impressive for its vitality.
Instrumentally, it was refreshing to hear the Pastoral Symphony - a shepherds' dance - performed by wind instruments. Allocating this passage to oboes and bassoon instead of the usual muted strings emphasises the rustic nature of this music.
The four professional soloists, all with local connections, acquitted themselves well in the arias and recitatives. There were moments of great tenderness from soprano Charlotte Jackson, and mezzo-soprano Emma Stannard (a former pupil of Charlotte's).
Tenor and bass soloists, Adam Smith and Paul im Thurn, were impressive in their portrayal of emotions, from exaltation to rage, and Lonsdale Baroque Ensemble, a small string and wind band, provided a stylish accompaniment throughout.
CLIVE WALKLEY
Westmorland Gazette
Thursday December 22, 2011
Spring Concert 2011
Balanced baroque a true delight
Kendal South Choir under the directorship of Mark Swinton, presented a lovely programme of Baroque Music with an Italian flavour, which delighted a discerning audience in Kendal Parish Church.
"he choir was accompanied by a superb small orchestra, expertly led by Julian Cann and the skilful continuo realisation of Ian Pattinson on the delightful Bevington organ.
The concert included two pieces by Monteverdi - the well known Beatus Vir and a less well known but more meditative motet - Christe, Adoramus Te. This was followed by Carissimi’s setting of the story of Jepthe and the well-known Gloria of Vivaldi, which presented a well balanced programme.
Kendal South had on this occasion, opted to invite young soloists, two from the Royal Northern College of Music, Emma Stannard and Adam Smith - and the more experienced local soprano, Rachel Little. The Carissimi setting of Jepthe is written in a very particular genre requiring singers experienced in the Baroque Style, both from soloists and choir, and some sections were tentative, but many very beautiful, including the moving closing chorus Plorate fili Israel.
The Gloria of Vivaldi was the most confident rendering of the items in the concert and I particularly enjoyed the fine oboe playing in the accompaniment to the soprano solo Domine Deus.
MARGARET PATTINSON
Westmorland Gazette
28th April 2011
Kendal South Choir under the directorship of Mark Swinton, presented a lovely programme of Baroque Music with an Italian flavour, which delighted a discerning audience in Kendal Parish Church.
"he choir was accompanied by a superb small orchestra, expertly led by Julian Cann and the skilful continuo realisation of Ian Pattinson on the delightful Bevington organ.
The concert included two pieces by Monteverdi - the well known Beatus Vir and a less well known but more meditative motet - Christe, Adoramus Te. This was followed by Carissimi’s setting of the story of Jepthe and the well-known Gloria of Vivaldi, which presented a well balanced programme.
Kendal South had on this occasion, opted to invite young soloists, two from the Royal Northern College of Music, Emma Stannard and Adam Smith - and the more experienced local soprano, Rachel Little. The Carissimi setting of Jepthe is written in a very particular genre requiring singers experienced in the Baroque Style, both from soloists and choir, and some sections were tentative, but many very beautiful, including the moving closing chorus Plorate fili Israel.
The Gloria of Vivaldi was the most confident rendering of the items in the concert and I particularly enjoyed the fine oboe playing in the accompaniment to the soprano solo Domine Deus.
MARGARET PATTINSON
Westmorland Gazette
28th April 2011
Christmas Concert 2010
Kendal Parish Church is exceptionally beautiful but, with its vast spaces, it is also exceptionally difficult for performing, and listening to, music. So, if I was disappointed by the first half of Kendal South Choir's Christmas concert, the fault was mine rather than the Choir's: I sat too far from the singers. No problem of course with the carols for us all to sing when, besides the choir and organ, we had the rich sounds of The Lakeland Brass Ensemble to inspire us to lift up our voices. Excellent.
The second half of the programme, however, certainly did not disappoint: having moved forward in the interval, I enjoyed one of the musical treats of the year: by imaginative use of resources, Mark Swinton achieved a truly enchanting performance of Rutter's cycle When lcicles Hang ... : behind us subtle string sounds from the organ (lan Pattinson); from our left delicately percussive sounds from the piano (Clive Walkley); before us the Choir singing sensitively and expressively. Never have icicles seemed colder or more sharply pointed! lt was very beautiful.
No space for mention of other treats but the Choir's evident delight in the music they sang under Swinton's energetic and impressively precise direction was infectious and we left with a real sense of Christmas joy.
ROBIN ORR
Westmorland Gazette
6 January 2011
The second half of the programme, however, certainly did not disappoint: having moved forward in the interval, I enjoyed one of the musical treats of the year: by imaginative use of resources, Mark Swinton achieved a truly enchanting performance of Rutter's cycle When lcicles Hang ... : behind us subtle string sounds from the organ (lan Pattinson); from our left delicately percussive sounds from the piano (Clive Walkley); before us the Choir singing sensitively and expressively. Never have icicles seemed colder or more sharply pointed! lt was very beautiful.
No space for mention of other treats but the Choir's evident delight in the music they sang under Swinton's energetic and impressively precise direction was infectious and we left with a real sense of Christmas joy.
ROBIN ORR
Westmorland Gazette
6 January 2011
