Creation! Laurence Blyth and Exeter Choral Society Saint James' Church Exeter Wednesday 7 December

Prodigious music maker - Laurence Blyth with the Exeter Choral Society

Only four days after his very moving production of Dido and Aeneas with the Wellington Choral Society (details) Exeter Cathedral Lay Vicar, Laurence Blyth was back in action again. Laurence is the Music Director of Wellington Choral Society, and also the Musical Director of both the Exeter And Exmouth Choral Societies. On Wednesday 7th December, at St James' Church in Exeter, came the chance for Exeter Choral Society to shine.

Exeter Choral Society Choir

Our host -

St James' Church

Rector

Rev Henry Pryse

Exeter Choral Society

President

Christopher Helyer

The Samaritans
Deputy Director
Mark Ashley

Each singer sported a large red rose for a special benefit concert in aid of Exeter Samaritans:
Joseph Haydn's oratorio 'Die Schöpfung' ('Creation').

Franz Joseph Haydn (1732-1809)

Painting by Johann Zitterer 1795

'Creation has a very English heritage. Haydn came to England in the early 1790s and was greatly impressed by the biblical oratorios of George Frederic Handel - especially 'Israel in Egypt' composed fifty years earlier. Haydn was determined to create something equally magnificent. Back in Vienna he worked continuously for three years, praying daily for the strength to complete his mission.

The première was a sensation. Crowds gathered outside the Schwarzenberg Palace where the rich patrons of the arts enjoyed an invitation-only performance. The planned public performance for the following year was an instant sell-out. As the nineteenth century dawned, Haydn's great masterpiece was performed throughout Austria, Germany, Italy, Spain Sweden, Russia, USA and - in English translation - at Covent Garden in London. Eight years later the elderly and frail Joseph Haydn was carried into the theatre in an armchair to hear his masterpiece one last time. It has remained a hugely popular classic ever since.

Organist David Davies

Pianist - Gwen Martin

There was no orchestra for this performance. The accompaniment was provided by Exeter Cathedral Assistant Director of Music, David Davies - playing a somewhat recalcitrant organ. Hidden away in his organ console, David relied on a video link to be able to see Laurence conducting the choir from the rostrum. Additional piano accompaniment was provided by a well-known local pianist - Gwen Martin (pianist with the 'Sidmouth Cameo Singers'). Wonderful instrumental work by both.

. . . and the world was without form and void . . .
wonderfully expressive bass solo by John Hobbs

" . . . with sinuous trace
     - the worm! "

The big moment came with the opening passage of Genesis, sung in a resonant bass voice by local soloist John Hobbs as the Angel Raphael. John has performed 'Creation' regularly over the years and knows how to pronounce each line with maximum expression.

A very moving performance.

Later, as he recounts the creation of the animals, the words are taken from book VII of John Milton's epic poem 'Paradise Lost' from 1667. The most extraordinary and memorable is saved until last - "In long dimension creeps - with sinuous trace - the worm!"

" . . . and God saw the light, that it was good . . . "
A highly polished tenor performance by David Webb

Following the explosive line "Let there be light!" from the choir, the equally impressive voice of tenor David Webb took up the tale - as the Angel Uriel. "God saw the light, that it was good." Then followed a delightful paraphrase of Milton's Paradise lost, "Now vanish before the holy beams the gloomy dismal shades of dark." Very different from the original, but equally affecting.

" . . . the marvellous work . . . "
An incredibly talented and glamorous soprano - Harriet Jones
in her trademark ermine cape

Only one thing was missing - the Angel Gabriel. A truly angelic performance was provided by soprano Harriet Jones. As the choir continued the glorious reworking of Milton, Harriet's voice joined them magically with, "The marvellous work beholds amazed the glorious hierarchy of heaven!"

After singing very little in the opening passages, Harriet took centre stage with Gabriel's air: "With verdure clad the fields appear delightful to the ravished sense." More Milton, more glorious lyrics!

" . . . revivéd earth unfolds new force and new delights . . . "
Beautiful three voice harmony

Each magnificent chorus was followed by a yet another beautiful aria. Genesis, Psalms, and endless quotes from Milton - exquisite poetry, extraordinary music and heavenly voices. Then in part two - the trio! Those three solo voices, so entrancing separately, joined in joyous harmony - a marvellous sound.

"Thou lettest thy breath go forth again, and life with vigour fresh return." Raphael, Uriel and Gabriel give one last celebratory anthem to the world's 'new delights', before the choir end the piece with a chorus of praise to the creator, "He sole on high exalted reigns, Alleluia!"

The final line was met with thunderous applause. A magnificent performance by all concerned. And for Laurence Blyth - Purcell and Haydn in the same week. Amazing!

Extremely well received

Laurence welcomes the organist
onto the stage at last - David Davies

Roses for an extraordinary soprano soloist

A little something for the conductor

Another photographer, with a different viewpoint:
Laurence Blyth conducting the Exeter Choral Society choir.
(Photography: John Spivey - www.johnspiveyphotography.co.uk
- see his full set of photographs at www.picasaweb.google.com)

What's next for Laurence Blyth?

- The Saint John Passion!

"Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist!" ("Lord, our master, your reputation is exalted in all lands!") - the greatest opening line of any oratorio - will ring out in the Church of Holy Trinity in Exmouth on Saturday 4th February 2012. Laurence will direct the Exmouth Choral Society choir and Brenda Willoughby's Divertimento Orchestra, David Webb will return as 'Evangelist', and the part of Jesus will be sung by a great Exeter bass soloist - Julian Rippon!

Exmouth Choral Society
& Divertimento Orchestra
Holy Trinity Church Exmouth
Saturday 4 February 7.30pm
ST JOHN PASSION
Conductor: Laurence Blyth
Evangelist: David Webb
Jesus: Julian Rippon
Tickets: £10 (U18 free)
Available in advance from 'Premiere'
(Rolle Street Exmouth) 01395 263137
www.exmouthchoralsociety.org.uk

Don't forget that the performance of Haydn's 'Creation' was given in aid of Exeter Samaritans. The Samaritans are familiar as the charity which provides support and counselling for people who are desperate and suicidal - a vital service.

To donate money to support the charity,
or to find out how to help in other ways,
please look at the Samaritans website (link).

If you need the help of a Samaritans counsellor - phone 01392 411711 at any time.

You can also visit their branch office: 10 Richmond Road, Exeter
(opposite St David's Community Centre)
10.30am - 9.30pm Monday - Saturday & 1.30 - 9.30pm on Sunday

www.exetersamaritans.co.uk

'Nonclassical' returns - Rebecca Willson & Ruth Avis Exeter Bikeshed Theatre Sunday 11 December

The stars of 'Nonclassical'
Flute: Ruth Avis - Piano: Rebecca Willson
(Photography: Cecil Hatfield)

Two months ago Rebecca Willson, working in conjunction with Gabriel Prokofiev's 'Joined Up Thinking Projects', presented Exeter's very first 'Nonclassical' concert at the Bikeshed Theatre (3 Oct). Since then Rebecca has been preparing a return to the Bikeshed stage, with another 'Nonclassical' concert featuring her own solo piano performance, and solo playing by another local musician - flautist Ruth Avis!

Rebecca Willson totally focussed
playing Gabriel Prokofiev's
'Cold Wooden Window'
(photo: Luch Càise-Dearg)

Rebecca opened the concert with piano music by Graham Fitkin - 'Blue'. Originally written for the theatre production 'Skating for many Scars' in 1994, 'Blue' works well as a solo piece - sombre and brooding with an escalating sense of impending menace. Then came music by Rebecca's mentor and co-creator of the 'Nonclassical' series, Gabriel Prokofiev - from his Piano Book No 1: 'Cold Wooden Window' and 'Black Sauce'.

Then, reproducing her talented performance in the Exeter Central Library Music Room (14 March), Rebecca played Graham Fitkin's 'The Cone Gatherers' - just as beautiful and moving as ever.

During the interval Devon's 'Young Composer of the Year', Michael Brailey, played out recorded tracks on the computer. However, more live music was soon to follow.

Michael Brailey's DJ set
attracts a lot of attention
(photo: LCD)

Ruth Avis took the stage with her flute, to perform Michael Nyman's 'Yamamoto Perpetuo'. Ruth explained succinctly the rather complicated play on words here. Japanese fashion designer, Yohji Yamamoto originally commissioned Michael Nyman to provide music for his second album in the series 'The Show'. The musical form 'perpetuum mobile' is called 'moto perpetuo' in Italian. Simple.

The original violin piece has since been developed by Nyman as his 'String Quartet No 4' which we heard at the end of Ruth's interview on Phonic FM (6 Dec - were you listening?), from the album 'The Suit and the Photograph'.

Andrew Findon, who plays flute with 'The Michael Nyman Band' (formerly the 'Campiello Band'), has subsequently developed a flute version - in eleven movements. The whole composition takes about half an hour to play. Ruth selected the lyrical opening movement and the contrastingly leisurely third, concluding with the last two movements.

Ruth Avis brings life to Andrew Findon's flute arrangement
of Michael Nyman's 'Yamamoto Perpetuo'
(Photography: Cecil Hatfield)

As complete contrast to the 'perpetuum' of Nyman, Ruth played 'Framing the Silence'. Michael Colquhoun created this piece in 2006 to challenge the player - and audience - with a series of introductory grace notes leading to - silence. Although it is tempting for the listener to count the beats before the next note, there is no point. Colquhoun's score does not indicate rests, but allows the player to hold the silence as long as seems appropriate to the situation. Ruth did that beautifully, creating a very intriguing sound experience.

The audience called for more, but sadly Ruth was not able to stay and play any further. However, Rebecca Willson stepped into the breach and provided a wonderful musical bonus - Somei Satoh's 'Incarnation II'. Also familiar from her Music Room concert (14 March), this is a piece of recording history. Michael Gluyas caught a perfect audio track of this piece in the music room and we have heard it on Phonic FM many times.

Rebecca plays 'Incarnation II' with utter concentration and attention to detail. The theme changes by very small increments while being repeated insistently and relentless. The sound confuses the ear, just as the eye is confused by the coherent light from a laser. Extra beats and resonances swim in and out of focus. Fascinating - both to hear, and to watch Rebecca's total absorption in the music.

Rebecca Willson's trademark look of total concentration
performing Somei Satoh's mesmeric 'Incarnation II'
(photo: LCD)

Grateful thanks to both soloists for a really special - and certainly unique - recital.

'Nonclassical' continues next year with plans for a full performance of Michael Brailey's sextet, plus more solo performances. Watch this space for further details - and Nonclassical bulletins on facebook.

East Devon Choral Society: Haydn's St Nicholas Mass St Peter's Church Tiverton Saturday 17 December

Debut performance for a promising soprano
Ellie Partridge sings the St Nicholas Mass

Just time to mention the wonderful choral concert in Tiverton this Saturday night.

Andrew Daldorph conducted the East Devon Choral Society in Haydn's 'St Nicholas Mass', followed by his own suite of songs, 'Seven Joys'. The planned soloists and the accompanist were all current pupils at Exeter School. A very talented team.

However, on the night, it was very sad to see that Lucy Bray was unable to sing the alto part. Congratulations to her understudy, Margaret Thomson, who sang the alto part beautifully.

The exciting revelation of the evening was the soprano voice of Ellie Partridge. This was her debut performance, and she had a vast solo part to perform - from the 'Kyrie' to the 'Agnus Dei'. Her tone and diction were extraordinarily polished for a first outing. Regular choir member Margaret Thomson was equally delightful in the alto part - a beautiful mezzo soprano voice.

Tenor Jonathan Schranz returned with Bass Matthew Smith. Jonathan was beautifully poised and sang magnificently. Matthew, despite a stinking cold, produced a very sonorous and engaging bass solo.

Michael Dawson provided accompaniment on the organ and piano. Michael is one of Hilary Boxer's promising 'cello students - and had performed 'cello solos at previous concerts. It is wonderful to see him in action again.

Many thanks to the East Devon Choral Society - and their Chair and Deputy - Martyn Green and Sue North. And extra special thanks to their Musical Director, Andrew Daldorph.

Andrew Daldorph will be back in action with his Exeter Chamber Choir on Tuesday (20th December) at St Mary Arches Church in Exeter. (Scroll down to the concert run-down for details - jump)

Here are a few more snaps of that glorious concert:

The full line-up: Alto Margaret Thomson, Soprano Ellie Partridge
at the far end: Tenor Jonathan Schranz, Bass Matthew Smith

Ellie Partridge sings in perfect harmony
with the regular bass voices of the East Devon Choral Society

Piano and Organ Accompanist
Michael Dawson

Tenor: Jonathan Schranz

Musical Director: Andrew Daldorph
acknowledging the superb work of the choir and soloists
(and Pianist Michael Dawson who is just off-camera on the left)

You will notice some metal supports and other paraphernalia in these shots. Michael Gluyas had his audio equipment set up to record the concert - stayed tuned to hear his beautifully reproduced recording.

Also present was video expert Mike Brett. From his vantage point he was able to pick up yet more close-ups of the action. There are more on the 'Dropbox' website (link)

Andrew Daldorph conducts, Ellie Partridge sings
- accompanied by Michael Dawson on piano
(Photography: Michael Brett)

A close-up of Tenor Jonathan Schranz in action
(Photography: Michael Brett)

And the Bass - Matthew Smith
(Photography: Michael Brett)

Exeter Chamber Choir
St Mary Arches Church Exeter
Tuesday 20 December 7.30pm
'A Concert of Christmas Music'
featuring:
Nick Cornish: Oboe & Saxophones
Todd Gibson Cornish: bassoon
(Father and son)
Tickets: £10 (in aid of the St Stephen's Project)
Box Office: 01392 851207
www.exeterchamberchoir.co.uk

Exeter Bach Society give a special Christmas concert to support the vital work of 'Shelterbox' in Mindanao Alphington Saturday 17 December

In Exeter on Saturday night, the Exeter Bach Society were performing a Christmas Concert at the Church of St Michael and All Angels in Alphington, in aid of 'Shelterbox' - the charity providing emergency equipment to people in disaster areas. Their life-saving boxes of equipment may now be needed in flood-devastated Mindanao. Concerts of this kind do a great service by raising awareness - and cash - for this vital work.

No charge was made for admission, but the work of the choir inspires the audience to dig deep for such a worthy cause.

To find out more or donate: www.sheterbox.org - donate - 0300 0300 500 for phone donations.

No details of the programme here I'm afraid, but if anyone wants to add them, try the comment box below or email luch@phonic.fm. Photographs were sent in by cameraman Cecil Hatfield, who also recorded the recent 'Nonclassical' concert at the Bikeshed Theatre. (Many thanks to Cecil.)

All contributions very welcome.

If you would like to see more of Cecil's photos they are posted on Flickr (link)

Colourful - and tuneful: The Exeter Bach Society Choir
(Photography: Cecil Hatfield)

Musical Director: Nicholas Marshall
(Photography: Cecil Hatfield)

? A solo for their Chairman: Christopher Parrish
(Photography: Cecil Hatfield)

Additional thanks to Cecil Hatfield for emailing in the night's programme!

A South American Sensation - Duo Teresa Carreño Piano and 'Cello: Ana Laura Manero & Arturo Serna take Glenorchy by storm Wednesday 30 November

Award-winning Venezuelan pianist
Ana Laura Manero

Another prize-winner from Venezuela
'cellist Arturo Serna

Lunchtime concerts at Glenorchy United Reformed Church in Exmouth never disappoint - and often they amaze. The unlikely arrival of a Venezuelan musical duo at the end of November was a surprise, and a revelation!

The two young musicians have both recently completed their post-graduate studies in music. Ana Laura Manero did great things at the Royal College of Music, while Arturo Serna distinguished himself at Trinity College. Both have since won a clutch of music prizes apiece.

In combination they are simply superb. Their playing is emotional, adventurous - and amazingly precise. The audience on Wednesday were utterly spellbound by the incredible skill and expressiveness of our two talented vistors.

intense concentration

absolute precision

A young Heitor Villa-Lobos
(1887-1959)

The concert started with a distinct South American flavour - music from Rio de Janeiro in Brazil. Reflecting the youth and vitality of the two musicians, the first item on the programme was a suite of pieces for 'cello and piano by the 26 year old Heitor Villa-Lobos.

Heitor's wife -
and piano accompanist
Lucília Guimarães
(1886-1966)

Much of Villa-Lobos music in later life was associated with his lover Arminda Neves d'Almeida.  However, he never divorced his first wife - pianist Lucília Guimarães. They were married in 1912 when they were both 25. The following year Heitor composed his 'Paquena Suite for 'Cello and Piano'. As world war erupted in Europe, Heitor and Lucília played 'cello and piano in the premiere performance at the Teatro de Victoria Eugenia in the Basque region of northern Spain in the new year of 1915.

This romantic history was reflected in the sensuously romantic playing of our two extremely talented Venezuelan musicians. With a wink from Arturo to Ana Laura, they launched into that familiar combination of baroque counterpoint and Brazilian folk music for which Villa-Lobos is famous. The opening 'Romancette' was Sensual and slow. They both showed intense concentration as they combined the sounds of the two instruments perfectly. The top of the Venables grand was opened wide to allow maximum volume from the piano to match Arturo's power on the 'cello.

The 'Legendaria' was short and fast - and lots of fun. The 'Harmonias Soltas' was intensely sad with long doleful notes sustained on the 'cello. The 'Fugato all'Antica' was fast and furious again, before the slow sensitive 'Melodia' - played with incredibly precise rhythm by Ana Laura. The final 'Gavotte' was marked 'scherzo' - a joke - but was actually quite serious - until the final note. A sudden and unexpected single pizzicato note - what a way to finish!

Pluck! - a perfect ending to the Paquena Suite
 Duo Teresa Carreño play the music of Heitor Villa-Lobos

Franz Schubert
(1797-1828)

Arpeggione

Moving back in time to 1822, and across the Atlantic to Europe, the next piece was composed by the twenty five year old Franz Schubert. Sonata for Cello and Piano. As Arturo explained the piece was originally written for a now outdated instrument - the arpeggione. This eight stringed, bowed, guitar like instrument is now sadly no longer widely in use. Schubert's sonata has been adapted and arranged for various other instruments - viola, clarinet - even tuba, and is also a very important part of the modern 'cello repertoire.


The opening Allegro was immediately lively and exciting. While Ana Laura leapt with gazelle-like agility about the piano keyboard, Arturo used an amazing technique - hopping from thumb to fingertip all the way to the very highest notes on the fingerboard.

adventurous and accurate

agile and playful

For three delightful movements - allegro moderato, adagio and allegretto - the duo alternated between slow sensuality and intense passion. Throughout all, their exacting presicion never wavered. What an exquisite perfection!

Ástor Piazzolla
(1921-1992)

To finish the concert Ana Laura and Arturo returned to South America - to Buenos Aires in Argentina this time, and the music of the great bandoneón player, and master of the tango, Ástor Piazzolla. This is the music of a much older man. At the age of seventy Piazzolla dedicated his 'cello and piano masterpiece 'Le Grand Tango' to the Russian 'cellist Mstislav Rostropovitch.

Mstislav Rostropovitch
(1927-2007)
(Conductor Benjamin Britten)

Rostropovitch gave the premiere perfromance in New Orleans in 1992 when Piazzolla was seventy eight - two years before he died. This wonderful atonal mixture of tango and jazz introduces fantastic new effects.

In particular, both Ana Laura and Arturo slid up and down their respective scales in sensational glissandi, interspersed with complex chords. Ana Laura watched Arturo like a hawk to ensure that each glissando and each chord was perfectly synchronised between the two instruments.

The flavour of Piazzola's earlier music kept shining through - elements of the 'Muerte del Ángel' seemed to fade in and out of focus, bringing a feeling of familiarity to this very novel piece. Ana Laura also had a lovely story to tell in the piano line - accompanied by simple open strings bowed by Arturo. Finally, Arturo got the last word with a single slow glissando down the bass string of the 'cello. A simple, studied and sensational end to a superb recital. Very well done!

glissando on the piano

and the 'cello

It is a testament to the quality and popularity of David Lee's Lunchtime Concerts at Glenorchy United Reformed Church that this internationally acclaimed duo approached him to appear at Glenorchy. Even after one of the pair (we're still not sure which) injured a wrist and their concert earlier this year had to be abandoned, they still insisted on reschuduling as soon as they were able. What good news for the people of Devon that they did! An absolutely outstanding concert. Brilliant and beautiful - a terpsichorean tour de force!

David Lee, organist at Glenorchy, has more musical treats planned for late 2012 - once the renovations to the church have been completed. In addition to all our wonderful local musicians, will there be another visit by this vibrant Venezuelan duo. Let's hope so!