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Songs of Heaven and Earth

St Andrew's Church, Penrith
18 September 2004

The Wordsworth Singer's audience, at St Andrew's, Penrith on Saturday, enjoyed a rare treat.

Interesting harmonies, occasional dramatic dissonance and very singable lines of melody sung by a first-class choir all combined to produce some moments of exquisite beauty.

The first piece was Kenneth Leighton's Sequence for All Saints, at times dramatic, at others contemplative. The bass solos in the second and fourth movements were sensitively sung by Jim Johnson.

Next came two unaccompanied pieces by Scotland's premier composer of his generation, James MacMillan. In The Gallant Weaver, a setting of Robert Burns, the sopranos excelled themselves, and the contemplative alto solo was beautifully sung by Hilary Hodgson.

Christus Vincit, to a short Latin text, starts quietly and builds up to an impressive climax sung by the soprano Emma Harper.

After the interval we heard Dvorák's Songs of Nature, performed with the appropriate delicacy.

Finally Kodály's Missa Brevis. In the Kyrie and Agnus Dei the sopranos split into three solo parts and go very high, soaring above the rest of the choir – a most moving moment.

Nicholas Howard

Mozart Requiem

10 July 2004

The Baroque Voice

St Andrew's Church, Penrith
19 June 2004

The Wordsworth Singers' programme of choral and instrumental music was cleverly constructed – the first half given over to early baroque music by Purcell and Monteverdi and the second to the three most significant composers of the late period – Vivaldi, Bach and Handel.

The four early pieces – Purcell's Te Deum in D and his coronation anthem of 1685 My heart is inditing and Monteverdi's Ave Maria Stella and Laudate Dominum – gave the excellent soloists opportunity to show their mastery of the intricate ensemble work, and the full choir their precise singing.

Vivaldi's Concerto in C for two trumpets was expertly played by Timothy Barber and Thomas Osborne, recent students at the Royal Northern College of Music, and Bach's Brandenburg Concerto No 4 in G received a sparkling performance from Emma Hancock (violin), John Turner (recorder) and Amanda Babington (recorder). The Lonsdale Chamber Orchestra were stylish accompanists.

The vocal highlight was the choir's performance of Bach's Lobet den Herrn. The complex fugal textures were met with apparent ease and some carefully crafted dynamics.

All credit to conductor Ian Thompson for such a fine concert.

Colin Marston

No Small Wonder

St Cuthbert's Church, Carlisle
28 January 2004

A most imaginative programme of music for the Epiphany season was given in St Cuthbert's Church by the Wordsworth Singers, conducted by Jeremy Suter (Master of the Music at Carlisle Cathedral) and accompanied at the organ by Hugh Davies.

The standard of singing throughout was excellent, enhanced by solo contributions, sensitively sung by members of the choir. Clear, flowing polyphony in anthems by Palestrina, Marenzio and Bull contrasted very effectively with music by Crotch, Cornelius and Mendelssohn. In The Three Kings by Cornelius, James Johnson contributed a fine baritone solo part, with the a cappella chorale accompaniment superbly done by the singers. In the first of three organ solos, Hugh Davies played Les Mages from Messiaen's La Nativité, a most evocative musical portrayal of a journey, magical and mysterious. Continuing the Christmas theme, the singers performed music by Poulenc, Howells, Warlock and a colourful piece entitled Illuminare Jerusalem by the contemporary Scottish composer Judith Weir.

In a serious vein, the Innocents were commemorated in music by Richard Dering and William Walton, culminating in a lament by Kenneth Leighton, in which Georgina Harland sang the soprano solo part most beautifully. More familiar pieces by Berlioz and Tchaikovsky, together with strikingly original items by contemporary composers Richard Shepard, Paul Edwards and Adrian Self were heard. In the last of these, Fiona Weakley, singing from the gallery, contributed an excellent soprano solo. Hugh Davies played further brief organ pieces concluding with a lively chorale prelude by Telemann. The presentation of Christ in the temple was aptly portrayed by the singers' interpretation of William Byrd's counterpoint and that of lesser known contemporary Johann Eccard. As a finale the Wordsworth Singers' performance of Nunc Dimittis by Holst provided a true reflection of a magnificent concert, much appreciated by the audience.

Alan Wilcock