Once again the Society has reintroduced us to the majesty of Mendelssohn’s Oratorio Elijah. It is a work of pure originality, beloved by singers. Here we experience the genius of the composer, displaying an imaginative and eloquent expression of emotion through music. Here we have a number of dramatic scenes; the resurrection of a dead youth, the bringing of rain to a parched land and the bodily ascension to heaven of Elijah on a chariot. Other episodes depict the contest of the Gods when the prophets of Baal are taken away and slain.

The stirring choruses resounded well in the venue and the choir, being well rehearsed were equal to the task. The balance was right and everyone rejoiced, so much so, that the audience too, knew that it was a joy to behold.

Its appeal to all was immediate and whilst its popularity has diminished from yesteryear, since it is rarely heard in its entirety, such pieces as the Quartet ‘Cast thy burden upon the Lord’, the chorus ‘He, watching over Israel’, the trio ‘Lift thine eyes’, and the solos ‘If with all your heart’, ‘O rest in the Lord’, and ‘Then shall the righteous’ all used to be part of the church’s repertory.

The soloists this evening were Suzanne Mather (Soprano), Alexandra Wynn (Alto), Philip Cartwright (Tenor) and Maurice Rushby (Bass).

The work opens with the choir imploring the Lord for help, as without his intercession, things would go badly wrong. Gradually we realise the whole work is dramatic from one episode to another. The choral sound was a delight from the start, sonorous and heart warming after the long summer break. Maurice Rushby, once again, demonstrated the opera like quality of the work, conveying the story and drama suitably accompanied by the orchestra who responded admirably to the challenge of this difficult work for amateur musicians.

‘If with all your heart’, was beautifully sung by Philip Cartwright, providing a sterling beginning that set the tone for further delights ahead. This was followed by Alexandra Wynnn and Suzanne Mather singing together with clarity and finesse, enhanced by passages reflecting the religious significance of the Oratorio. Gradually, the audience was immersed in the storm so when the chorus sang ‘Baal we cry to thee’, the chattering orchestral accompaniment made for a wonderful effect.

‘Draw near, all ye people come to me’, was beautifully sung by Maurice before the chorus sang ‘Cast thy burden upon the Lord’, sung with clarity to demonstrate the contemplative nature of the passage. Before the end of the First Part we heard ‘There is nothing’, delightfully sung by Abigail who surely is starting out as a promising singer being so young. All leading up to ‘Thanks be to God’, a rousing finale where everyone has a role to play, singers and players alike with a final glissando by the orchestra.

The mood at the start of the Second Part is sombre and lyrical which leads to conflict between Elijah and Ahab with the chorus finally coming to a climax in ‘Let the guilty perish’, so now the music swells to ‘Lift thine eyes’, for three angels, ‘He , watching over Israel’, for chorus, ‘O rest in the Lord’, for contralto solo and oboe obligato, ‘He that shall endure’, for chorus, to a climax in another storm . In this section we hear a showpiece for the human voice and both Suzanne Mather and Alexandra Wynn excelled with sublime simplicity. They both sang with the right depth and intensity of feeling. The work continues with ‘He that shall endure’ for chorus to a climax in another storm where we heard some good rhythmic singing, made more effective by sudden quiet interludes before wind, earthquake, and fire subside. The final scene ‘Above Him stood the Seraphim’, mirrors the solemnity of the opening where the semi-chorus excelled themselves, followed by the final choruses and quartet which is introduced by the bassoon, ‘O come everyone that thirsted’ followed by ‘Then shall your light break forth’.

The performance this evening was a triumph for all concerned. The orchestra responded to the difficult challenge given them by Mendelssohn and the Society is grateful to those members who give their services to reinforce the orchestra to enable such works to be performed.

Apollo.

Ramsbottom Choral Society & Orchestra presented this year’s summer concert at All Saints Church, Brandelsholme Bury. The concert consisted of well-known popular music which is enjoyed by all. It included music by George Gershwin, Jerome Kern, Sondheim/Bernstein and Richard Rodgers and one knew before a note had been struck that a treat was in store. This was pure relaxation from sterner stuff, where musical quality was far from being diluted. We all enjoy it, a reminder of the world of yesteryear, where there was, if you like, a simpler discipleship; music from the Golden Age.

The programme started in good style with a selection from “Oh Kay” by George Gershwin. The singers were in good voice accompanied by the orchestra in tune with the delightful composition. No programme of music would be complete without Gilbert and Sullivan and so we heard “I have a song to sing, O” from Yeoman and the “Ghost’s High Noon” from Ruddigore. Gilbert’s poem is a wonder which starts off with “The night wind howls in the chimney and the bat in the moonlight flies”. Here the orchestra picks up the chill by playing near the bridge to give the strings a brittle edge! This was followed by Salut d’Amour by Elgar played beautifully by Pat Butterworth the orchestral leader. Here, we heard Elgar at his best as Pat used her bow like a paint brush to entrance her listeners with a range of iridescent colours. This was followed by Wendy Porter who pleased the audience with her lovely voice reminding us that it was a “Wonderful Day”. Then the Andantino Singers who always meet the challenge of difficult compositions, harmonizing with clarity and accuracy, sang three songs by George Shearing. Offenbach’s Barcarolle was another joy and especially so with its delicious orchestral accompaniment. To end the first half we heard excerpts from “Show Boat” where Maurice Rushby sang “Ol’ Man River” a song that might have been written for him with his rich embracing tone to stir our hearts allied to his perfect diction, always in evidence.

After the interval we were entranced by the ‘Elizabethan Serenade’ which was used by the BBC as a theme tune for a programme entitled ‘Music Tapestry’ in the fifties, sung by the Andantino Ladies beautifully scored by Ronald Binge. The orchestra then accompanied the choir sensitively in ‘Titwillow’ from Pirates of Penzance, followed by ‘A British Tar’ from Pinafore. After which Wendy Porter sang ‘Tonight’ from West Side Story. The ‘Flower Duet’ by Lakmé proved stunning with some gorgeous playing by Julie and Janine Hope playing Flute and Cello, in a marvellous arrangement by them. ‘The Seal Lullaby’ by Eric Whitacre was captivating with some refined singing by the Andantino Singers. Moving up-stage, we then heard the ‘Chorus of the Hebrew Slaves’ from the opera Nabucco which established Verdi’s reputation.

To round off the evening what could be more pleasing than to hear Maurice once again singing from South Pacific ‘Some Enchanted Evening’, which it was, followed by a grand selection from Oklahoma in which we heard Ian and Janice Lewis singing in their own inimitable style.

Many thanks too to the All Saints Parish Church Council for allowing the Society to perform in their spacious and lovely church Long may the choir and orchestra bring so much pleasure to the locality, a treasure indeed. Finally, congratulations to accompanist Harry Butterworth, and to Barry Sugden who conducted the choir and orchestra throughout the evening, as well as accompanying the Andantino Singers on the churches lovely piano, with perception and professionalism.

Apollo.

Late in life Haydn decided to compose two Oratorios – The Creation and The Seasons. This year the society decided upon the Creation which must have had more performances than any other of Haydn’s choral works. There are three soloists Soprano, Tenor and Bass and a great many wonderful choruses beloved by singers alike, so before a note was cast there was an air of expectation.

The libretto is based on the first book of Genesis but largely from Paradise Lost related by Raphael to Adam. Part 1 is concerned with the Creation of Earth and Sea together with the Praise of God. Part 2, is where we meet the animals and birds that will populate the world followed in Part 3 by man himself in the shape of Adam.

There is much that is childlike and naïve in the music especially the imitations of nature where we hear thunder and rain. In the chorus ‘A new created world’, beauties abound many of them in the orchestral scoring.

The three solo parts are Gabriel (Soprano), Uriel (Tenor), and Raphael (Bass), sung respectively by Suzanne Mather, Philip Cartwright, and David Owen-Lewis. Suzanne Mather sang her solos with ease and confidence especially ‘Now clothed in refreshing green’, in a refined and pleasing performance.

Philip Cartwright too sang with confidence and conviction throughout the evening and his tone struck the right note in all his recitatives and solos.

David Owen-Lewis has a resonant voice with a warm rich sound, and he was in command of the demands put upon him by the composer throughout the evening. The duet and trios were a sheer delight throughout, after which the choir responded with vocal eloquence.

On this evening, the choir rose to the occasion having three soloists of distinction to inspire them, together with the marvellous choruses written by the composer. The performance of the work was a fine achievement for the Society which seemed to respond to everything that was asked of them. ‘The Heavens are telling the glories of God’ together with the other choruses were all sung well and impressively, a true choral ensemble.

The orchestra too played their parts extremely well and especially the wind section which had difficult roles to play. The majesty of the orchestration is soon apparent in the aria ‘Now heaven in fullest glory shone’ has a beautiful accompaniment whilst the recitative ‘Be fruitful all’ with cellos and violas , together with the introduction in Part 3, where flutes and pizzicato strings are scored with pure originality. All played beautifully through the music’s majesty.

The concert this evening was another triumph for the Society and thanks go out to those musicians who give their services to reinforce the orchestra, to enable the Society to undertake such prestigious works. This was another triumph for the Musical Director, Barry Sugden; an inspiration to everyone, year in and year out.

Apollo.

Inside Greenmount Church people found their places-the solidarity of the Choir and Orchestra-over ninety people. Odd notes and whines rose upwards into the huge ceiling, dissipating and falling on the congregating people. As families and friends find each other and wave to their anticipating representative, the Musical Director Barry Sugden makes his last notifications and signals to the choir and orchestra to ready themselves: his entrance with a rolling applause marked the full to capacity Church.

The first carol ‘Hark the Herald Angels Sing’ literally rang out the beginning of this favourite night. Without any doubt this carol concert was starting well and produced the ‘voices’ so accustomed to be heard. There is an increase in the numbers of children present this year. They came forward to sing ‘Away In A Manger’ with a promise of goodies if they answered Barry’s questions correctly, which they did, but to the children and everyone’s delight it was Barry who had forgotten the name of the carol playing ( a senior moment or a clever gaff) brought a huge explosion of laughter and consolidated the rows of friends into a relaxed and expectant audience.

High in the nave of the church the clear voice of Wendy Porter can be heard singing ‘He is Born’ gently coaxing us and flattening our fears and we too feel ready to take part. With songs in both halves of the concert the ‘Andantino Singers’ lulled and carried us along with their festive interpretations. Indeed again they have proven to be the ‘cream of the crop’ fulfilling all our desires to listen and warm our hearts to join in.

In the interval we are pleasantly bombarded with mince pies tea and coffee, expertly done, obviously a well-practised ‘mince pie run’. Thank you.

Maurice Rushby with his strong re-assuring voice, deep and powerfully portraying the carol of ‘The Three Kings’ coming to pay homage to baby Jesus.

Throughout the concert, but particularly, in their solo of ‘Sleigh Ride’ the Orchestra, led by Pat Butterworth, bubbled, bounced and lifted us in rhythm to take us dancing along the strings, with the flutes and French horns following the bassoon and meeting the keyboard openly swaying with no desire to go home.

Of course we are here, we are wonderful –linking with the Choir and singing our hearts out. The quietly confident choir they are there every time you need them donning Christmas hats now, and singing with gusto the ‘Cowboy Carol’, in the first half’, and ‘Wishing You A Merry Christmas as a Finale-Wow.

Contented we listen to the Reverend round up the evening with applause and good wishes and thanks to all taking part. There is a very friendly atmosphere as the congregation deplete, choir and orchestra dismissed we venture into the cold air outside.

Whether old or young, single or family, all the participants went away feeling fulfilled, and full of anticipation for the Christmas period.
P.B.

The new season opened with music to delight the ear from Mozart, Fauré and Sibelius, some of it familiar, other pieces less so. The keynote of the programme seemed to encapsulate the word ‘Remembrance’ and especially so since Jeffrey Clarke the societies violist, passed away recently. He was a member of the orchestra since its inception where he played with distinction.

Two of the soloists Jennie Marsden (Soprano) and Yvonne Hutton (alto) were singing with the Society for the first time, they both sang their parts with ease and confidence. Chris Dodd (Tenor) and Maurice Rushby (Baritone) have sung with the Society over the years and so the scene was set for a fair and prosperous voyage.

We heard music that was particularly contemplative and inward looking rather than persuasive and who better to demonstrate this than Gabriel Fauré.

The Overture from Mozart’s Opera, La Clemenza Di Tito set the scene with some spirited playing. The opera was written for the Coronation Day of the Emperor Leopold in Prague, and only finished the night before the first performance. Here we heard some spirited rhythms played with a light touch. Listening to this music it is difficult to realize that this music was composed despite the hopeless struggle against poverty, disease and frustration.

Fauré’s Requiem was first performed in the church of La Madeleine in Paris in the year 1888. Simplicity is its overriding feature and the soloists this evening sang with eloquence and tenderness demonstrating the atmosphere of serenity and spiritual contemplation in the Pie Jesu and In Paradisum. Jennie Marsden set the scene in the Pie Jesus by the sheer quality of her voice. Crystal clear like a shining star, surely, a rising star herself. She inspired the orchestra and the choir to respond when they sang In Paradisum.

Further evidence of Fauré’s mastery came when we heard Aprés un Rêve beautifully sung by the choir, where we heard the words “In a sleep I dreamed of happiness”.

The Pavane is a Spanish Court Dance which ebbs and flows in a series of harmonic and melodic climaxes echoing the elegance of the haunting Belle Epoque.

The orchestra played the Sibelius piece Valse Triste with careful phrasing, in another haunting melody from the incidental music for the play “Kuolema” (death) by the composer’s brother in law. A piece that soon took on a life of its own in the music world.

In between the aforementioned pieces, the audience rejoiced In Die Bildnes from the Magic Flute and Wine Women and Song from Don Giovanni both handled with wholesome singing and sound artistry from Chris Dodd and Maurice Rushby. The first half of the programme ended with Mozart’s Ave Verum where Mozart’s mastery is revealed, simply ravishing.

Finally Mozart’s Requiem, this was commissioned by a nobleman who wished to pass it off as his own. Sadly Mozart was far from well, believing that satanic influences were behind his demise. He completed about half the vocal score and Franz Xaver Sussmayer worked on sketches that Mozart left behind, scoring the Sanctus, Benedictus and the Agnus Dei. Despite the collaboration the opening bars of the Requiem by Mozart himself are most moving. However, the orchestra and choir gave a convincing performance of the whole work. The orchestra gave attention to the scores inner detail together with the soloists who sang their parts with clarity.

The whole performance was eminently satisfactory bringing credit to all who were concerned. It was good to see Barry Sugden on the rostrum once again presenting a well devised programme to delight our senses where everyone responded to the challenges presented by the composers. Many thanks too for visiting players who strengthen various sections of the orchestra. The whole evening fulfillied all our expectations.

Apollo.

As part of the Queen’s Diamond Jubilee Celebration party for the Greenmount community, the choir brought the outdoor event to a conclusion by singing various patriotic songs and also led the audience in a sing-along of all-time favourite songs at Greenmount Cricket Club. The performance took place on the back of a 40 foot articulated trailer as a culmination of performances by various local music groups, one of which was Tooti Flooti who also played along with the choir providing additional accompaniment.

The choir included a performance of the recently released diamond jubilee song “Sing” specially written by Gary Barlow and Andrew Lloyd Webber, as well as Jerusalem, Land of Hope and Glory and also Rule Britannia, which the soloist, Janice Lewis sang with great gusto and patriotic fervour

Picture courtesy Steven Berrisford

It is possible that the story of Elijah is Felix Mendelssohn’s oratorio “Elijah”. It chronicles many episodes of his life which remains one of the most popular Romantic choral orchestral works in the repertoire.

Once again, the orchestra and choral society are playing from two of the “big three” oratorios where their appeal to audience and performers alike was and still is immediate. Alas, complete performances now come with diminishing frequency. However, the quartet ‘Cast thy burden upon the Lord’, the chorus ‘He watching over Israel’, ‘If with all your hearts’ and ‘Then shall the righteous shine forth’ are part and parcel of the churches repertory’. This evening we heard them all sung with clarity and confidence, the result of effective rehearsals. It is interesting to realize that the first chorus of Elijah starts with three great shouts of ‘Help Lord’ which reminds us that without God’s help life would be less than inspiring. The chorus is often polyphonic so that everyone in turn gets a tune to sing.

The work is dramatic; its passages are enhanced in the mood and style of the chorale which we hear in ‘Be not afraid’.

Mendelssohn composed music of purpose and it achieves an important stature so much so that participants and listeners are carried away by its beauty. The Trio ‘Lift thine eyes’ was sung brilliantly by the ladies from the choir. Indeed, the music is so engaging that the audience too were in tune with the proceedings.

The soloists this evening were familiar to the audience all having sung with the Society for many years, Suzanne Mather (Soprano), . Chris Dodd (Tenor), and Maurice Rushby (Bass). All the solo parts were sung competently and Chris Dodd set the scene admirably from the Recitative ‘Ye people rend your hearts’ followed by the Air ‘If with all your hearts’ Throughout the whole evening he sang with authority with his lovely voice. Maurice Rushby too reminded us of his ability especially in the Messiah singing with real conviction. Suzanne Mather’s singing was quite moving especially when she sang ‘I know that my Redeemer liveth’ and especially so after a long evening just before the Hallelujah chorus taken by all with robust and rhythmical vitality.

The singing this evening was a credit to the choir. The clarity of their words seemed to match the music which contributed to the excellence of their performance. Indeed, the choir seem to improve with every concert. The orchestra too, played no small part in the success of this concert, especially in the ornamental patterns found in the Mendelssohn. Once again Chris Parsons demonstrated his artistry in ‘The Trumpet Shall Sound’ which it certainly did.

Finally, Harry Butterworth is to be commended for stepping in to take overall charge of both choir and orchestra owing to Barry Sugden’s indisposition. However, everyone is relieved that Barry is now convalescing after his operation.. From the very beginning of the concert it was obvious that Harry had command of the works to be performed. The clarity of his conducting inspired both choir and orchestra, so much so that the responses by all were positive and forthcoming. Many thanks too, to those musicians who came to play, on this occasion, to strengthen the orchestra in music which enriches the soul.

Apollo.

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