Concert Run-Down for the end of April

Glenorchy Lunchtime Concerts

Glenorchy Church Exmouth

Wednesday 20 April 12.30pm

Josephine Pickering 

Frances Waters

Piano Duets

Admission Free

Glenorchy Lunchtime Concerts

Glenorchy Church Exmouth

Wednesday 27 April 12.30pm

Alex West

Piano and Organ

Admission Free

St Boniface Concert Society

Crediton Parish Church Thursday 28 April 7.30pm

Alexander Sitkovetsky: Violin

Qian Wu: Piano

Brahms: Sonatas 2 & 3

Grieg: Sonata No 3

Prokofiev: Sonata No 1

Season Ticket (5 concerts) £50

Tickets: £12 (child £6)

Box: Opus Classical (Exeter Guildhall) 214044

www.bonifaceconcerts.co.uk

Ballet Black

Northcott Theatre Exeter

Friday and Saturday 29/30 April 7.30pm

Henri Oguike: 'Da Gamba'

Antonia Franceschi: 'Shift, Trip ... Catch'

Will Tuckett: 'Orpheus'

Tickets: £10-18 (Concessions 1/2 price)

www.exeternorthcott.co.uk  493493

www.balletblack.co.uk

-      Chantelle Gotobed

         and Jazmon Voss

         performing Da Gamba

         by Henri Oguike

 Clyst Valley Choral Society

& St David's Singers

St Margaret's Church Topsham:

Saturday 30 April 7.30pm

Holy Trinity Chruch Exmouth:

Sunday 1 May 3pm

Mendelssohn: Elijah

Conductor: Paul Stock

Soprano: Janet MacDonald

Mezzo Soprano: Carolyn Harries

Tenor: Christopher Hunt

Bass: Julian Rippon

Organist: Mark Perry

Tickets: £8 (advance £7)

from Joel Segal Books 877895

www.clystvalleychoral.org.uk

Glenorchy Lunchtime Concerts

Glenorchy Church Exmouth

Wednesday 4 May12.30pm

Piano: Joyce Clarke

Baldassare Galuppi: Sonata in B flat

(early 18th Century Venetian composer,

born on the island of Burano)
Brahms: Intermezzo in A op118 no 2
Chopin: Impromptu No. 1 Op. 29
Chopin: Fantaisie-Impromptu Op. 66
Harold Noble: Chanson d'Amour
Mendelssohn:Venetian Gondola Song

                      in F sharp minor Op. 30 No. 6
Mendelssohn: Rondo Capriccioso in E Op. 14

Admission Free


Joyce's concert at Glenorchy on 4 May is an EXCLUSIVE opportunity to hear a preview of her forthcoming concert in Venice - a very special event!

Bournemouth Symphony Orchestra 

Exeter Cathedral Thursday 5 May 7.30pm

A Festival of the Ukraine

Mussorgsky: St John's Night on Bare Mountain

                     Pictures at an Exhibition

Lizst: Mazeppa

Reinhold Glière: Concerto for Coloratura Soprano & Orchestra

Conductor: Kirill Karabits            Soprano: Ailish Tynan     -

www.bsolive.com

'1769 Organ Restoration Fund'

James Wyatt Music Room, Powderham Castle

Friday 6 May 7.30pm

Music for Flute, Strings and Organ

Flute: Judith Hall  Organ: George Pratt

Divertimento:

Violin: Mary Eade  Viola: Andrew Gillett

'Cello: Vicky Evans

Mozart: 2 Quartets for Flute & Strings

Reger: Serenade for Flute & Strings

Panufnik: 'Homage to Chopin'

Dvořák: Five Bagatelles for Harmonium & Strings

(on the Bryce Reede organ, naturally)

Tickets: £14  Box: 01626 890243

East Devon Choral Society

Conductor of  'Gerontius'
and Director of Exeter Chamber Choir
Andrew Daldorph

Exeter Chamber Choir
St Paul's Church Tiverton

Saturday 7 May 7.30pm
Sir Edward Elgar: The Dream of Gerontius

Full symphony orchestra

conducted by Andrew Daldorph

Mezzo-Soprano: Frances Bourne
Tenor: Iain Milne
Bass: James Arthur
Tickets: Main Aisle £15, other £10 (U16 £6)
EDCS Box Office: 01884 840054
Tiverton Information Centre 01884 255827
Details: 01884 253494

www.exeterchamberchoir.co.uk

EXMOUTH Choral Society and Orchestra

Holy Trinity Church Exmouth Saturday 7 May 7.30pm

Haydn: Creation

Soprano: Emily Griffiths

Tenor Clement Hetherington

Bass:Stephen Conolly

Conductor: Laurence Blyth

Leader Fiona McLean

Tickets: £10 (child/student £5)

Family: £20 (all + £3 on the door)

Box: 01395 275188

www.exmouthchoralsociety.org.uk

- Conductor Laurence Blyth

EXETER Choral Society and Orchestra

St James's Church Exeter

Wednesday 11 May 7.30 pm

C. P. E. Bach: Magnificat

Haydn: Missa Sancti Nicolai

Soprano: Harriet Jones

Counter-Tenor: Jake Arditti

Tenor: David Webb

Bass: Matthew Cann

Conductor: Laurence Blyth

Tickets: £9 (U16 free)  Box: 832474

www.exeterchoral.co.uk

Conductor Laurence Blyth -

Chris Gradwell and Friends

in the basement of Kennaway House Sidmouth

Mike Thorne, Andrew Daldorph, Chris, Andrew Barret

Chris Gradwell & Friends

Kennaway House Sidmouth

Saturday 14 May 7.30pm

Music Poetry Actors

Saxophone & Clarinet: Chris Gradwell

Keyboard: Andrew Daldorph

Guitar: Andrew Barret

Double Bass: Mike Thorne

Character Actors: Wally Cotgrave

                            Rowland Moloney

Authors: Barbara Farquaharson

              Kairen Hooker

              John Torrance

Tickets: £7  Box: 07583 796855

        

                    

South West Music School

Ship Studio Dartington
Sunday 22 May 3pm

Young Artist Showcase: Classical Music

Haydn: Divertimento in D

Freya Hicks: Beethoven Romance No 2

Rossini String Sonata NO 2

Louise Farrenc: Piano Quintet No 1

Tickets £3 (free for students)

www.dartington.org

Rebecca Smith Singing Elgar and Britten

Coffee and Music at Broadclyst Parish Church

on Saturday 26 March

Exeter Philharmonic Choir

Exeter Cathedral Thursday 26 May 7.30pm

Bach & Beethoven

Organist: Andrew Millington

Mezzo Soprano: Rebecca Smith

Beethoven: Mass in C

J. S. Bach: Magnificat in D

Tickets: £9,11,14,17,20 (student subtract £2)

Supper Club £40

www.exephil.org.uk

Orchestra of the Age of Enlightenment
Dartington Great Hall
Sunday 29 May 3pm
Musical Director: Alison Bury
Soprano: Elin Manahan Thomas
George Frederic Handel:
Concerto Grosso Op 6 No 1
Guilio Desare: 'Da Tempesta'
Rinaldo: 'Lascia ch'io Pianga'
Alcina: 'Tonami a Vagheggiar'
Concerto Grosso Op 3 No 2
Concerto Grosso Op 6 No 7
Cantata for Soprano and Orchestra:
'Silete Venti'
Tickets: £18 (student £5) Box: 01803 847070

www.dartington.org

The Piazzolla Duo

Lympstone Parish Church

Saturday 4 June

Flute: Ruth Avis

Guitar: Clive Betts

Tickets available from Sun 1 May

Lympstone PO: 01395 263928

www.lympstoneentertainments.co.uk

The Piazzolla Duo     -

Coffee and Music - Evening Concert

Broadclyst Parish Church

Saturday 11 June 7.30pm

Flute: Denise Deter

(distinguished flautist & teacher

Woodlawn Arts Academy,

Sterling Illinois)

Piano: John Scarfe

Admission Free 

-   Flautist Denise Deter

Shaldon Festival

St Peter's Church Shaldon

Thu-Sun 16-19 June

Thu 16: English Touring Opera

Fri 17: South West Music School (q.v.)

Sat 18: Choral Workshop with Sir Neville Mariner

Piano: Peter Adcock, Organ: Jonathan Watts,

Soprano: Héloïse West, Alto Rebecca Smith (see above),

Tenor: Gitai Fisher, Bass: Julian Rippon (q.v. & q.v.)

Sun 19: Innovation Chamber Ensemble

(Strings of the City of Birmingham Symphony Orchestra)

Shostakovich, Brahms, Mendelssohn

www.shaldonfestival.co.uk

Exeter Recorder Orchestra  St James's Church Exeter Saturday 18 June 7.30pm

Denis Bloodworth: Arr. of renaissance dances                G F Handel: Concerto Grosso Op 6 No 1

William Mundy: O Mater Mundi                                    William Byrd: Ye Sacred Muses

Steve Marshall: Symphony No 4                                   www.pinwood.net

(Concert repeated at United Reformed Church Dawlish Sat 16 July 7pm)

Edward Scull and Exeter Chamber Choir in Concert: Romance of the Marimba Friday 16 April

The headline: Marimba Player Edward Scull
(with talented musical partner, soprano Tara Mathew)

Following weeks of mounting excitement, a capacity audience filled the Church of St Peter, Shaldon, for a very rare performance of virtuoso music for the solo marimba.  21 year old Edward Scull, whose home is in Shaldon, and who is studying for a specialist music degree in percussion at the Royal College of Music, played a total of ten outstanding pieces by modern composers for marimba - and a surprise encore of his own composition with very special relevance to the concert.  The Exeter Chamber Choir also performed seven glorious choral works appropriate to the occasion.

Co-stars: The Exeter Chamber Choir
Conducted by Andrew Daldorph
(The 'red balloon' is a shrouded lenten cross.)

The concert was opened by Roger Kirk, founder of the Helen Foundation.  Roger and his wife Annie have been raising money to support young people to develop their talents in all fields of the arts - visual art, sculpture, drama, poetry and, of course, music.  All proceeds and donations from the concert go to further this work.  Edward was very keen to perform to raise money for the foundation, which has supported him and his colleagues in their careers.  The concert also served as a memorial to Roger's daughter Helen Elizabeth, a very promising actress, who was tragically killed in a road traffic collision on Boxing Day in 2005.  The concert marked the fifth anniversary of the foundation being set up in her name.

In a slight change from the advertised programme, Edward started with 'Eravie' by Alexej Garassinez - the same piece we played to open his interview on Phonic FM on Tuesday.  There was no confusion, however, as Garassinez' piece is very distinctive and instantly recognisable.  However, to be in an auditorium with a marimba is quite different from listening on the radio.  The gentle bass tremolo, which was inaudible on the station play-out, gave out a penetrating hum which was intriguing and disconcerting.  With incredible skill Edward developed the melody with the two mallets in his right hand, while the two in his left slowly increased the volume of the tremolo until the bass resonators were giving out a glorious sound like a church organ.  The sound and visceral effect of  the marimba, in the hands of an expert like Edward, create a unique musical experience which has to be heard live to be fully appreciated.

For Chinese composer Lin Chin Cheng's 'April Sky', and Ivan Trevino's 'Memento', the red headed mallets which had produced the bass rumble were systematically replaced by blue, and then white.  Clearly made of material of increasing hardness, these introduced a clear ringing melody.  The sweet legato sound was enhanced by the subtle variations in the timbre of the natural wood of the marimba keys.  This is the bass xylophone taken to a new level.

After the three movements of 'Memento' (all of which received a round of applause - we shouldn't, but couldn't help it!) Edward gave up the stage to the Exeter Chamber Choir.  Andrew Daldorph conducted them in a beautiful choral work by Polish composer Henryk Górecki.  Górecki is best known for his overwhelmingly successful 'Symphony of Sorrowful Songs' written as a memorial to the suffering of Poles and others under the Third Reich.  'Totus Tuus' ('Totally Yours') was composed, while Górecki was still a relatively obscure composer, for Pope John Paul II's visit to Poland in 1987.  The gentle harmonic variations on the repeated cry to the virgin Mary, "Maria", is utterly entrancing.  When Andrew called for half volume the sweet whisper of "Maria" was delicate and affecting, the perfect compliment to the preceding music on the marimba.

The Choir also performed two of Michael Tippett's beautiful arrangements of traditional songs.  The spiritual, 'Nobody knows the trouble I've seen', made famous by Louis Armstrong (and recently revived by local baritone Iain McDonald), was given a whole new lease of life in this beautiful a cappella version under Andrew's direction.

Edward then took us to the interval with two more beautiful marimba pieces.  First another work by Lin Chin Cheng, 'Wind', which built on a simple and beautiful four note motif with one 'red' mallet maintaining a soft deep ululation in the bass.  'The Green Road' was written by Mark Ford, under whom Edward has had the privilege to study.  A new compound in the mallet heads (navy blue with red piping!) gave a loud staccato sound for a piece describing the changing outlooks and seasons on 'The Green Road'.

Edward explains the finer points of the marimba to the Aldermen of Shaldon

After a relaxed interval, during which the audience could enjoy refreshments in the adjoining church hall, or chat with Edward about the fascinating marimba, Edward returned to the stage for another three movement work, this time by the now familiar Chinese composer Lin Chin Chen.  'Kaleidoscope' starts with 'Pray for a Wish' which opens with repeated peals of notes like the change ringing of bells, leading into impressively skilful glissandi.  For 'Café without Sugar' Edward upped his game even further, by increasing the number of mallets from four to five - three in his right hand for an even more complex melody.  But 'Café without Sugar' was no showboating piece.  Gentle and restrained, it had a delightlfully restful and dreamy quality.  Edward switched back to hard heads for 'Fresh Expectations', a fast and furious movement finishing with an impressive flourish.  In the ensuing applause Edward's father Robert, who must have heard Edward practice this piece many times, had only one comment, "He nailed it!"  He certainly did!

In keeping with the spirit of a memorial concert for Helen Kirk, Edward then played the very moving 'Tune for Mary O' composed in Irish folk style by American percussionist Rich O'Meara as a memorial to Mary O'Meara.  The long reflective passages were played softly and with perfect control, showing just the right deference for the memory of 'Mary O'.  A gentle tremolo led to a sudden end, which was self-explanatory.

The memorial theme was continued by Andrew Daldorph and the Exeter Chamber Choir.  The swelling baroque harmonies of Claudio Monteverdi's 'Christus Adoramus Te' were delightfully contrasted with the very simple but gently moving African-American spiritual, 'Kumbaya', arranged by Andrew himself.  The gentle opening with humming undercurrent built to an impassioned fortissimo before returning to a soft reprise.  Although "Kumbaya" appears to be a rather irreverent West Country expression exhorting God to "come over here!", it has a rather more exotic pedigree.  First sung by the African-American inhabitants of the Sea Islands of the south east coast of the US, "Kumbaya" is a Creole word meaning - exactly what we think it does!

The Choir completed their choral contribution with Josef Rheinberger's evening hymn 'Abendlied', with which they began and ended their previous concert in Crediton so movingly.  Before that, however, by a very apposite coincidence, the choir had, quite fortuitously, chosen to include the Christmas chant of responses 'O Magnum Mysterium' in an arrangement by Morten Lauridsen.  Annie and Roger Kirk, and many members of the audience, were especially moved by this - the same piece by Lauridsen had been sung at Helen Kirk's funeral, in the same building, five years before.  The soft and lyrical singing of the choir was particularly poignant for all those who remembered that sad day.

The very last item on the programme, 'With You', to be played by Edward, was credited to his new musical partner in London, soprano Tara Mathew.  Tara is originally from Oak Lake in Manitoba, and was recognised at an early age as an extremely talented singer, being awarded the title 'Most Oustanding Jazz Soloist' and singing to tens of thousands of people at the Canadian and Pan-Am Games alongside Celine Dion.  More recently she has been living in Toronto, former home of the big daddy of all Canadian musicians, Sir Ernest MacMillan.  For several years now Tara has been using her wonderful talent, and generosity of spirit, to support education and health programmes in India.  Edward and Tara are billed to appear together at the Embassy in Mayfair on 18th May for a collaborative concert which promises to be spectacular.

The incredibly glamorous soprano Tara Mathew

It was a great surprise and thrill, therefore, when Tara herself appeared and joined Edward on the stage.  Edward played with as much energy and emotion as before, but now his playing perfectly complemented Tara's extraordinary singing voice.  Taking her place at centre stage in a stunning silver satin dress, Tara built the song to a crescendo of moving and spiritual sound, blending perfectly with the music of Edward's marimba.  In a plaintive, pleading, legato she took the words to the extremes of emotion.  This surprise addition to the programme was a very special treat for us all!

Again slightly out of programme order, Edward finished the whole programme in style with another work by Lin Chin Chen.  'Flying', according to Edward's introduction, is a piece which is continuously changing and evolving, but still remaining the same piece.  This is a very charming work, building in volume by steps while delicately repeating the modular motif.  A very lovely piece to finish on.

Naturally everyone wondered whether there would be an encore.  Edward surprised us all, and particularly Annie and Roger, by returning to the stage to play his own composition - an Elegy to Helen Kirk.  Edward's work was a very special piece, complex and engaging, and bringing out the full resonance of his instrument.  Roger was visibly moved as he gave the closing address, holding in his hand the recording of the Elegy which Edward had prepared for him.

In his closing words Roger spoke passionately about the need to secure the future of the next generation of creative talent, in all of the arts.  In the current political climate is of reduction and degradation of support for young artists, The Helen Foundation exists to provide a secure and reliable means of supporting all creative and performing arts into the future.  As part of that effort Andrew Daldorph and the Exeter Chamber Choir, percussionist Edward Scull, and soprano Tara Mathew, all gave their time and talent freely on Friday night so that all proceeds (and the many generous additional donations) could go to the Foundation.  Many thanks to everyone involved.  Friday's concert not only made a great contribution to very important work, but was also a spectacularly enjoyable evening of entertainment!

(Full details about The Helen Foundation can be found at www.thehelenfoundation.org.uk )

Victor Borge had the right idea!
Edward dismantles the marimba with help from father Robert

After the concert there was the elaborate and fascinating business of dismantling the marimba for transportation back to London.  Edward, along with Andrew Daldorph and Tara Mathew, chatted informally with audience members as a very enjoyable evening drew to a close.

A further  collaboration between Edward and the Exeter Chamber Choir is planned for Saturday 7th May.  In an unprecedented line-up, the East Devon Choral Society Choir and the Exeter Chamber Choir will perform Sir Edward Elgar's 'Dream of Gerontius'.  There will be three wonderful vocal soloists, including the mezzo soprano voice of Frances Bourne, and a full orchestra with, as a very special additional extra, the percussion playing of Edward Scull on four state of the art timpani.  This is concert to get to at all costs!

('The Dream of Gerontius' is a choral work of grandeur and emotion comparable with the recently performed St John Passion.  Gerontius foreseeing his imminent death prays to Jesus and Mary for redemption before his soul is led by angels, priests and 'assistants' to judgement before the divine throne - and descent into purgatory.  With the full complement of orchestra and two choirs, this will be a very special experience!)

The next big thing:
Edward unveils the magnificent timpani
he will play in Exeter Chamber Choir's
performance of Elgar's 'Dream of Gerontius'

East Devon Choral Society
Exeter Chamber Choir
St Paul's Church Tiverton
Saturday 7 May 7.30pm
Sir Edward Elgar: The Dream of Gerontius

Full symphony orchestra
conducted by Andrew Daldorph

Mezzo-Soprano: Frances Bourne
Tenor: Iain Milne
Bass: James Arthur
Tickets: Main Aisle £15, other £10 (U16 £6)
EDCS Box Office: 01884 840054
Tiverton Information Centre 01884 255827
Details: 01884 253494
www.exeterchamberchoir.co.uk

English Touring Opera - a double bill of Puccini at Exeter Northcott Theatre Thur/Fri 24/25 March

On Thursday and Friday evening at the Exeter Northcott Theatre, Mozart's 'La Clemenza di Tito' gave way to a double bill of contrasting one act operas by Giacomo Puccini.  One was intensely tragic but the other, by way of relief was a hilarious farce.

A sombre set for a tragic story, 'Il Tabarro'
bottom 3,4 & 5 from left: Charne Rochford is Luigi,
Julie Unwin, Giorgetta and Simon Thorpe, Michele.
(Greg Tassell appears yet again - 'song seller', top left)

'Il Tabarro' ('The Cloak') was very depressing - and moving.  Simon Thorpe played the part of a barge owner, Michele, on the Seine in Paris in 1910.  He employs a gang of stevedores including Luigi (played by Charne Rochford) who falls in love with Michele's wife Giorgetta (Julie Unwin).  Life on the barge is tough but bearable - except for the tragic loss of Michele and Giorgetta's only child (who Michele used to shelter under his cloak - 'il tabarro' in Italian).  Giorgetta's desire for a younger man and Michele's increasing bitterness and jealousy are played out beautifully - if distressingly.  The woes of the other gang members are also brought in to add to the pathos.  A strange comic interlude where Greg Tassell, as a 'song seller', ends up dropping all his song sheets, dates the piece and adds a little idea of local life.  However, the whole story is very insular - confined to the deck of the barge.  The final, inevitable, murder is convincing - and horrifying.  As Michele finally bellows his admission of what he has done, he throws open the cloak, which had previously protected his wife and child - to reveal the shocking corpse of Luigi.  This opera was definitely not for the faint hearted!

'Gianni Schicchi' (pronounced 'Skee-kee') was a very different story.  The story is set at the end of the thirteenth century in Florence but the set was of roughly the same period as 'Il Tabarro', but decidedly more opulent.  The action opens with 'the ensemble' around their uncle's deathbed in a rather dishevelled but still grand room hung with scarlet satin.  Each of the relatives is inexplicably dressed and made up as a strange clown or Victorian 'grotesque'.  They argue about the inheritance before starting a frantic search for Uncle Buoso's will.  Everything is torn open and thrown aside leaving a pile of papers on the floor which oddly mirrors the 'song seller' and his music in the previous play.  The will, which they finally manage to locate, leaves everything to the Monastery, which does not please the relatives.  Paula Sides and Ashley Catling play an engaged couple, Rinuccio and Lauretta.  Rinuccio hoped to get married on his inheritance despite the family's dislike of Lauretta's father - the eponymous Gianni Schicchi.  Eventually the family agree that Schicchi, although unpopular, is the only one clever enough to recover their inheritance.  Richard Mosley-Evans' entrance as their unlikely saviour is comic in the extreme.  Richard, a former steel-worker from South Wales, is broad and stocky and has a huge bald pate.  He struts about full of his own importance and enjoying the predicament of the family - even the lament of his daughter and prospective son-in-law who despair of ever getting married.  His plan, when he arrives at it, is not terribly clever, however.  He will pretend to be Buoso, still alive, and dictate a new will - a crime which would see them all punished by the loss of a hand and banishment from Florence.  Although the set is windowless, the beloved Florence, from which they would be banished, is represented by a painting, over which they weep.  Richard, as Schicchi, dressed in Buoso's nightshirt, and singing in a strangled falsetto voice (which presumably sounds like Buoso), dictates a new will to the Lawyer (Stuart Haycock) from behind the bed-curtains.  Surprisingly, he deceives the lawyer successfully, but also adds several bequests to himself, while waving the empty sleeve of the nightshirt to remind the family what will happen if they make a fuss and get found out.  Although ridiculous, the story is absolutely captivating,and the bizarre characters responses endlessly amusing.  Paula Sides (see below) as Lauretta is sent out to avoid implicating her in the crime.  She spends most of her time on the 'roof' silently acting out her part in parallel with the action below, and often forgotten by the audience.  One final twist, which was not immediately apparent, was that Stuart Haycock, who played the Lawyer, was also the body of Buoso.  Once bundled into a cupboard, he quickly changed costume and came in from the other side of the set.  After writing the will and leaving, he changed back and got back into the cupboard - to tumble out as the final punchline in an irreverent parody of the tragic end of 'Il Tabarro'

Watching two such different operas in quick succession is quite a strange experience, but a very interesting one.  The singers worked perfectly to take us into very different worlds.  An amazing achievement which they  repeat every week all over the country - the run continues until the end of May, when they will be at the Grand Opera House, Belfast.

The next English Touring Opera Season starts at the Royal College of Music in October and finishes at the Exeter Northcott Theatre in November:

English Touring Opera
Exeter Northcott Theatre
Wed 16 November 7.30pm
George Frederic Handel: 'Flavio'
Thur 17 November 7.30pm
Henry Purcell: 'The Fairy Queen'
Fri/Sat 18/19 November 7.30pm
George Frederic Handel: 'Xerxes'
Tickets: £17-30 (concessions 1/2)
(pre-show talks - info to follow)
Box: 01392 493493
www.exeternorthcott.co.uk
Information: 0207 833 2555
englishtouringopera.org.uk

The Counterpoint Choir Sing Bach's St John Passion Exeter Cathedral Saturday 9 April

'The Betrayal of Judas and the Arrest of Christ', Ugolino Di Nerio, Sienna, 1325

On Saturday night an Exeter audience enjoyed a very special performance that they had been looking forward to for the past two months.  In the perfect setting of Exeter Cathedral, Bach's glorious 'St John Passion', performed by the Counterpoint Choir and Divertimento Orchestra, was everything we expected - thrilling, emotional and beautiful.

Professor George Pratt takes his place at the chamber organ
(Chris Watson, front left, prepares to sing 'Evangelist')
Ann is standing just behind George
(Barbara Degener plays 'cello)

The performers on Saturday included several new (but familiar) faces.  George Pratt, curator of the James Wyatt Music Room and Bryce Seede organ at Powderham Castle, was playing the chamber organ.  (An electric model - not a 'natural' sound, but very versatile.)  Greg Tassell, who recently appeared in three different English Touring Operas in one week, had several wonderful Tenor arias.  Also Ann Draisey, a soprano familiar for her performances with the Exeter Chamber Choir, made her debut in the Counterpoint choir.  What a piece for her to start with.  By her own account she absolutely loved the whole experience.

A familiar soprano - Ann Draisey

The opening chorus is always an amazing experience and the choir gave a magnificent performance.  After the deceptively gentle opening by Brenda Willoughby's Divertimento ensemble, the opening line exploded with all the intense emotion of Bach's fervent belief in Christian redemption.  "Herr unser Herrscher, dessen Ruhm in allen Landen herrlich ist!" ("Lord, our Master, whose glory is unsurpassed in all the world!") Rings in the ears as it is repeated over and over, voice after voice coming in an almost endless fugue.  But then it does eventually wind to a natural close - only to begin again from the beginning to amazing effect.  The opening chorus alone was utterly breathtaking!

After a perfect opening the narrative was taken up by the incredibly expressive tenor voice of Christopher Watson.  Although the other soloists stood to the front or on staging (even in the pulpit) to sing, Chris sat with the orchestra and stood unobtrusively to sing the words of the St John Gospel.  His German was superb and every word crystal clear.  Even we lesser mortals, who struggled with school German, could follow him easily.  What made this performance doubly impressive was that Chris travelled across country to perform the equally challenging, and totally different, 'St Matthew Passion' the very next night!

Each aria and chorus was as intensely beautiful as the last.  Soprano Mary Bevan took the familiar "Ich folge dir gleichfals mit freudigen Schritten" ("I follow you likewise with joyful steps") to new heights, with celestial flute accompaniment by Melanie Orriss.  Greg Tassell initially had only a short line as a 'servant' and it seemed that this would be his only contribution.  Not at all!  Greg's aria, opening the second half of the performance, was a beautiful demonstration of his youthful tenor voice.  Bass Stuart Young, as Christ, was wonderfully restrained, imperious and humble in just the right proportions.  He also had a wonderful aria just before the interval - with the delightful addition of very accomplished 'cello pizzicato by Barbara Degener.  And, as we have to come to expect at Counterpoint performances, there was an incredible counter-tenor aria - this time by Jonathan Peter Kenny, a very moving moment.

The soloists L-R
Stuart Young  (next to David Acres), Greg Tassell, ChrisWatson
foreground: Jonathan Peter Kenny congratualtes Mary Bevan
(Brenda Willoughby, Leader of the Divertimento Orchestra,
is standing behind Stuart Young)

As each recitative and aria gave way to the chorus, the Counterpoint choir swept everyone up in the emotion of their singing.  It was hard to tell whether they or the audience were more affected.  The chorus of rejection, "Keuzige ihn!" ("Crucify him!"), which Ann Draisy particular mentioned on the radio on Tuesday, was intense as a pistol shot - and almost as devastating!  As with the opening, the last words were left to the Chorus: "Herr Jusu Christ, erhore mich, ich will dich preisen ewiglich!" ("Lord Jesus Christ, hear me, I shall praise you eternally!")

Two months after their wonderful collection of works by Thomas Tallis and William Byrd at Buckfast Abbey on 12 February,  Counterpoint have taken music in Devon yet further, bringing their delightful singing talent to the musical genius and spiritual extremes of the music of Johann Sebastian Bach.  Many thanks to all concerned, in particular Brenda Willoughby and the Divertimento ensemble, and especially to the founder and conductor of the Counterpoint choir, David Acres.

For their next Concert, Counterpoint return to Buckfast Abbey:

Counterpoint Choir
Buckfast Abbey Saturday 25 June 7.30pm
Requiem for James II
(last Catholic King of England)
Duarte Lobo: Requiem
and music by Blow, Caldara Gibbons, Lobo,
Lotti Padilla, Purcell, Ramsey, Tomkins, Weelkes
Tickets: £10 (£8 in advance - booking advised)
Box: 490398  http://www.counterpoint.org.uk/concerts.html




- James II (1633-1701) ruled 1685-88
   Sir Godfrey Kneller 1685

Classical Journey Tuesday 12 April



Edward Scull playing the orchestral marimba

At 10am this Tuesday Edward Scull will join us in the studio to discuss his career as an orchestral percussionist and his forthcoming concert at Shaldon (this Friday, 15 April, 7.30pm) with the Exeter Chamber Choir, conducted by Andrew Daldorph.

Marion Wood on keyboard

After a brief run-down of local concerts at 11am (see post below), conductor and Director of Music at the University of Exteter, Marion Wood, will discuss this Thursday's performance of Mahler's Symphony No 2 ('Resurrection'), which will feature soprano Catherine Hamilton and mezzo soprano Alison Kettlewell - and Marion conducting the Exeter Music Group Symphony Orchestra.

If there is time, several very interesting recordings have been sent in by local musicians:

Pianist Joyce Clarke - A Collection of Piano Favourites (Schumann, Mozart;, Debussy etc.)

Music on the Edge (Chris Caldwell, clarinet, Susie Hodder-Williams, flute) Stephen Goss' 'Northern Lights'

Flautist Tina Guthrie - The Champagne Flutes, 'Perfectly Chilled' (Rubinstein, Mozart, Bach etc.)

Pianist Rebecca Willson - Incarnation II (Somei Satoh)

Requests:

Linda - more Austrian 'jodler', or Romano Viazzani's wonderful accordion

(Sorry Linda no piano by Matthew Wright, or recorder music,

but we can have Chris Cranham's amazing Tuba.)

Sheila - anything from the sublime St John Passion (John Eliot Gardiner please!)

Tim - if you missed Arvo Pärt's 'Tabula Rasa' last week we can now have Tasmin Little's version - very special - or perhaps we should have the whole thing next week?)

Denise - Xiaogu Zhu, 'Love in Spring'

Depending on what guests bring in we might also have extracts from:

Andrew Daldorph: 'Songs of Hope and Creation' with the Exeter Chamber Choir

Evelyn Glennie: 'Light in Darkness' (Marimba and percussion)

Sir Andrzej Panufnic: 'Concertino for timpani, percussion and strings'

Gustav Mahler: Symphonie No.2

Sir Edward Elgar: Sea Pictures

Either in this programme or next week.

UPDATE:

Listeners will have noticed that we didn't manage to play any of those requests, except for a 'little bit of Rachmaninoff' in the last 2 minutes.  To be more precise it was a recording of pianist Joyce Clarke playing her own arrangement of 'How Fair is this Place' from '12 Romances' by Sergei Rachmaninoff.

Edward Scull in the studio

Many thanks to Marimba player Edward Scull for coming into the studio and telling us about his very successful career as a percussionist.  Edward will be performing on Friday at St Peter's Church  in Shaldon, with additional choral music by the Exeter Chamber Choir.  Edward's mother Helen, who is in the choir, was also in the studio.  Although she didn't want to speak on air she was very helpful of air, or using sign language.



Sadly when Edward and Helen left I went to pieces and gave the wrong information on Edward's last recording.  We were going to hear the second movement of Joe Dadell's percussion concerto 'Ruby', but a now familiar technical/presenter difficulty meant I had to play another piece instead.  Although I said afterwards that it had been the 'First Movement' of 'Ruby' it was, in fact,

'Tune for Mary O-M' by Rich O'Meara of the 'Kwo'm' Percussion Group.

As Edward explained, this piece, based on traditional Irish folk music styles, was written in honour of his sister Mary.  It most certainly shouldn't be confused with Dadell's concerto!

The exciting concert in London which Edward mentioned was at the Embassy in Mayfair, where he will be performing with Canadian opera soprano Tara Mathew in a programme which makes the transition from classical to 'pop'. That show will be well worth a visit if you're in London on Wednesday 18 May.  The show starts at 7.30pm and the price of admission is only £6.


Many thanks also to Marion Wood for giving such a clear analysis of Elgar's 'Sea Pictures' and Mahler's 'Resurrection', which would have worked even better if I could have played the right tracks at the right time!  Marion will be conducting the Exeter Music Group Symphony Orchestra in 'Sea Pictures' and 'Resurrection' on Thursday at 7.30 in the Cathedral.

Go to the 'Concert Run-Down' below for full details of Edward and Marion's concerts and all the other concerts coming up in and around Exeter.