Stirling University Choir concert

Posted on May 13, 2010 by david

Last Saturday I was singing in Dunblane Cathedral with Stirling University Choir. Our conductor Alistair Warwick had chosen to put on a very different concert from our usual fare in the shape of a programme entitled ‘Folk Songs from the British Isles’. Unfortunately, this had not fallen together entirely to our satisfaction, due to a lack of rehearsal time and being unable to obtain music for some of the pieces Alistair wanted to do. However, if the programme left something to be desired, the concert on the night went very well indeed. The centrepiece of the programme was four Burns settings by Carolyn Sparey, including two world premières. ‘Willie Wastle dwalt on Tweed’ was a particular favourite of mine (although not to everyone’s taste) and also a challenging sing – probably the most difficult piece of the night with chromatic tenor runs and other unusual moments. Other good sings included ‘What shall we do with a drunken sailor’ and ‘While shepherds watched their flocks by night’ in a smashing arrangement by our accompanist Matthew Beetschen of its original tune Cranbrook (now better known as ‘On Ilkla Moor Baht ’at’)The songs we sang were:

trad. Drunken Sailor
trad. Paddy on the Railway
Matt McGinn Coorie Doon
Benjamin Milgrove Mt Ephraim (Come ye that love the Lord – Isaac Watts)
anon. Sumer is icumen in
trad. Migildi, Magildi
Carolyn Sparey O Wert Thou in the Cauld Blast (World première)
trad. arr. Dennis MacDonald Ye Banks and Braes
Carolyn Sparey Willie Wastle Dwalt on Tweed

Interval

Carolyn Sparey A Red, Red Rose (World première of choral version)
Karine Polwart Follow the Heron
Carolyn Sparey Craigieburn Wood
trad. The Spinner’s Wedding
Vin Garbutt The troubles of Erin
Elizabeth Ann Spencer Irish Blessing
Thomas Clark, arr. Matthew Beetschen Cranbrook (While shepherds watched their flocks)
trad. arr. Jayne Davies Beside the Sea
trad. arr. Dennis MacDonald Will ye no’ come back again

This programme was augmented by poem readings and solo items by Carolyn Sparey on viola and Matthew Beetschen on organ. There were plenty of opportunities for members of the choir to do solos, all of whom acquitted themselves wonderfully. This was a very fun concert to be a part of – and those members of the audience that I spoke to seemed to enjoy it. It was surprising, at least for me, how much fun could be got out of really simple items like ‘Drunken Sailor’ and the round ‘Sumer is icumen in’

We are now looking forward to our next concert on the 4th of December, when we will be performing Britten’s St Nicholas, Finzi’s In terra pax and Normand Lockwood’s Carol Fantasy

4 to 94

Posted on May 13, 2010 by david

Last weekend the Scottish Chamber Orchestra gave two excellent concerts at the Queen’s Hall. On Thursday evening the full orchestra under John Storgårds was joined by the Chorus for a programme of Brahms and Schumann.

The first item on the programme was Brahms’ Serenade Nº 2, which I was really looking forward to hearing after the SCO’s outstanding rendition of the 1st Serenade under Thierry Fischer last month. The first thing one noticed as the orchestra assembled was the much smaller forces – just 21 players on stage, and no violins. Of these, the piccolist Yvonne Paterson remained silent until the final movement. I wasn’t necessarily convinced by the central Adagio non troppo which although wistful didn’t really seem to go anywhere, but the scherzo which preceded it was a much more confident affair. The Quasi menuetto fourth movement was funny to the point of being hilarious with its start stop rhythms and the orchestra played it with great dexterity and aplomb. The finale was another vigorous number with the piccolo finally getting its chance to shine – and under Yvonne Paterson’s nimble fingers shine it did. This was followed by more Brahms – this time late Brahms in the shape of his Vier ernste Gesänge or Four Serious Songs. The soloist for these was the German bass-baritone Stephan Loges, who was a new name to me although according to the programme an SCO regular. On the form of this performance I hope the relationship continues. He sang from memory with every nuance of the text under his control and Storgårds’ orchestra matched him perfectly. (Incidentally the much larger orchestra was not Brahms’ but Günter Raphael’s orchestration of Brahms’ piano original.) The dark mood of the first three songs was lifted in the final setting of the hymn to love from 1 Corinthians 13 and orchestra and soloist brought the piece to a radiant conclusion.

The final piece of the evening was Schumann’s virtually unknown Mass which was probably being heard for the first time by most of the performers, let alone the audience. On first hearing this is a very curious work, which although probably neglected unjustly, does not really deserve a place alongside the greats of the choral canon. Stephan Loges was joined by English singers Rachel Nicholls (soprano) and Benjamin Hulett (tenor). The work begins with a slow and somewhat unsteady Kyrie which is followed by a very upbeat Gloria with a catchy (and somewhat repetitive) tune. This was the chorus’ third performance under their new chorusmaster Greg Batsleer and they did not seem quite as assured as in the first two excellent performances. Some entries were a little uncertain, particularly in the Gloria. The highlight of the work was the Offertorium, Tota pulchra est, which was beautifully sung by Rachel Nicholls acompanied by David Watkin on cello and Jan Waterfield on Organ. Unfortunately the excessive sentimentality of this piece does not fit very well with the rest of the Mass, probably one reason why it enjoys a small life as a solo item outside of it. On balance Schumann’s Mass is an incredibly fun piece and was ably performed by all concerned, although I am not convinced it would bear up to repeated listening.

On Sunday it was the last of the SCO’s chamber concerts for the season and the turn of six of the Orchestra’s string players to take to the Queen’s Hall stage to present a delightful programme of nineteenth and twentieth century music. They began with a brief quartettsatz by Wolf – his Italian Serenade. This charming and witty piece showed a lighter side to Wolf’s music than most listeners of his work might suspect and provided ample opportunity for the quartet of Ruth Crouch, Claire Sterling, Jane Atkins, and Su-a Lee to show of their skills.

Next they were joined by Simon Rawson and Donald Gillian for Schönberg’s Verklärte Nacht – a much weightier piece. I have always preferred the original chamber version to the large orchestral version (although I would love to hear the full SCO strings perform the full version – It is a piece that would suit their strengths very well) This was a confident and assured performance, although the tempo was perhaps a little to fast to fully appreciate the breadth of the piece. In the all important second viola line, Simon Rawson was at times lacking a touch of assertiveness, particularly in the pizzicato moments, but all six players responded well to each other and produced a cohesive whole.

After the interval the six players returned for Brahms second String Sextet. This piece as Conrad Wilson’s notes reminded us provided a clear example of the ambiguity of Brahms, with the second movement’s ‘anti-scherzo’ a perfect complement to Thursday night’s almost-minuet. The finale brought us back to the same light-hearted nature which had begun the afternoon and was brought off with tremendous skill and enthusiasm by the players,