We are delighted to have been invited to resume singing services in the Cathedral. This has involved extremely careful planning and strict adherence to covid-19 guidelines.
We have all missed the music and fellowship of singing in the choir during several months of enforced silence. This made our reunion for Evensong on October 4th a joyous occasion. Of necessity we had to maintain social distancing, wear masks and avoid socialising, but worshipping and making music together in our lovely cathedral was wonderful.
Our next service is on November 1st when we will sing for the 10.30am Eucharist. Music for this will be the communion setting in F major by Harold Darke, Elgar’s “Ave verum corpus” and a newly commissioned carol by Ian King.
The Cathedral is planning a series of Christmas Carol services and we are greatly looking forward to our participation in this on Friday December 18th – we will be performing twice to allow as many people to join us in the congregation as possible (within strict and safe guidelines).
We will also be singing for the 10.30am Eucharist on Sunday December 20th.
Full details of these and all our planned events can be found here.
Until this week the Worcester Cathedral Chamber Choir had been enjoying rehearsals and looking forward to a very busy schedule of services, concerts and a recording. However, we have now reluctantly reached the conclusion that we need to suspend our activities. This was a logical and inevitable response to the Government’s strategy on how best to deal with the COVID-19 pandemic and the Cathedral’s decision to suspend public worship until further notice.
This has resulted in our having to cancel planned services for at least three months; this is reflected in the updated events section. We intend to reschedule the July concert in Himbleton and the recording, once we can restart rehearsals. Please keep in touch with future plans by referring to this website.
All our members regret this situation. Our music and fellowship play a very important part in our lives and we hope that things will return to normal as soon as possible. Meanwhile, we hope all members and friends will stay safe and well.
One of our soloists’ role in our forthcoming concert makes it not only celebration of the patron saint of music – it’ll be a family affair too.
Soprano Sarah Kings will be taking the lead in one of our music for St Cecilia’s Day pieces from across the centuries – Meditations, composed by her brother.
It’s not the first time she’s performed sibling Steven’s music but she always finds every opportunity a proud moment, even if it does bring an additional pressure to those that come with being one of the choir’s regular soloists.
“I want to give my best,” she says, “but I’m also aware the audience won’t necessarily know the piece, which can take the pressure off a bit!”
It’s obviously a help having your composer on hand for any performance tips and, says Sarah, a choir member for 18 years, Steven is always happy to help.
“Although it tends to be more about what he means and is trying to achieve than the mechanics of singing, which he leaves (in this case) to our conductor Stephen Shellard.” she adds.
Steven and Sarah are Worcester born and bred. He attended Kings School and, now living in Bristol, his roles include accompanist and assistant chorus master to the Bristol Choral Society and the BBC National Chorus of Wales. He also conducts several choirs and is a seasoned pianist, soloist and chamber musician.
He has earned several awards and nominations for composing and his works have been performed at Worcester’s Three Choirs Festival, around Bristol and beyond.
Sarah went to the girls’ grammar school before gaining a music degree and pursuing careers in stock broking and IT. She is currently a carer for her father.
A conducting engagement means Steven can’t attend Worcester Cathedral Chamber Choir’s O Sing Aloud! concert in St Martin’s Church, London Road, but Sarah knows he’ll be there in spirit. “He does do the proud brother bit,” she grins. “The sibling pride is usually mutual!”
O Sing Aloud! is on November 23 and also includes works by fellow Worcester composer Ian Venables, an arrangement of American classics by former Worcester Cathedral Director of Music, Dr Donald Hunt.
Performing Vaughan Williams’s The Lark Ascending is violinist Shula Oliver and readings will be delivered by Gabrielle Bullock. Christopher Allsop, King’s School’s Assistant Director of Music provides organ and piano accompaniment for the evening that, under the baton of Stephen Shellard, also includes Fauré, Mozart and Parry.
Our O Sing Aloud! programme covers a broad musical spectrum – and not all of it is about St Cecilia who, unsurprisingly, has inspired many composers to put pen to (paper) score.
Here’s a few examples to whet the appetite for November 23.
Purcell’s Ode to St Cecilia was commissioned in 1692 by the “Gentlemen Lovers of Musick” and, set a poem by the Rev Nicholas Brady, features 13 movements praising the saint, music, and instruments. It’s a bit of a benchmark piece as it heralds the start of the English secular choral tradition. At the time of composition, St Cecilia Day celebrations were civic entertainments staged for the entire population. For musicians it was a commercial venture and the Odes were performed in public concert halls. Our concert features three excerpts from work.
The stars clearly combined when Benjamin Britten came along.s He was born on St Cecilia’s Day (November 22) and so his Hymn to St Cecilia must have been somewhat inevitable. Although it wasn’t an easy process: Britten initially had problems in finding a suitable text which led to a request to poet WH Auden who produced the words in 1940. Much of the music was composed while Britten was in America but when he returned to England in 1942 US customs officials confiscated the first part, believing it was some kind of coded message. Britten had to rewrite the entire first section from memory.
Haydn was only young when he wrote Missa Cellensis in honorem Beatissimae Virginis Mariae – otherwise known as the St Cecilia Mass. And he also had to write it from memory after the original manuscript was lost in a fire in1768. Seldom performed, it’s a heady mix of intricate fugues and elegant melodic lines.
Herbert Howells wrote his Hymn to St Cecilia using words from poet Ursula Vaughan Williams (aka Mrs Ralph Vaughan Williams) and, harking back to 17th century tradition, was commissioned by the Livery Club of the Worshipful Company of Musicians. Set for four-part choir and organ, it premiered on November 22,1961, in St Paul’s Cathedral.
If anyone was going to get a -er- Handel on all of this it was George Friedrich with his 1739 cantata Ode for St Cecilia’s Day. He, again went to a poet for the text, this time England’s first Poet Lauret John Dryden, with its theme of music being a central force in Earth’s creation.
The composer set it specifically for 16 leading singers of the time – their initials appear alongside his or her lines – but eventually arranged versions for chorus, soloists and orchestra and for solo violin and orchestra.
In the original, some parts see the soloists singing as a “choir,” often in as many as 12 parts; in others, they have a solo, some more than others.
Once premiered, it immediately became a Proms staple. Sir Henry himself, wrote thanking Vaughan Williams after that first performance, saying he thought it had “lent real distinction” to it and the work was performed in the following Proms four years straight.
And Sergei Rachmaninov, who was playing his own Piano Concerto no. 2 in C minor in that same inaugural concert, was said to have been moved to tears when he heard ‘Serenade’.
The season has since given it almost nearly 30 airings while Vaughan Williams conducted the original version in the 1951 inaugural concerts of the Royal Festival Hall.
“A fitting ending to 14 minutes of sublime poetry coupled with some of the composer’s most transcendent music: a divine pairing that ascends to heavenly heights and returns to earth with the harmonious strains of the angelic harp hovering in the air,” writes one author.
And what could be a better tribute to the patron saint of music herself? Come and hear it performed in St Martin’s Church, Worcester on Saturday, November 23. Tickets here.
One of the central pieces of our St Cecilia celebration concert is Vaughan Williams’s The Lark Ascending.
This lush, evocative work is more often than not performed with violin and orchestra, but it was originally scored for violin and piano. That is how it will be heard in St Martin’s Church on November 23.
Vaughan Williams began working on the piece in 1914, at the outbreak of the First World War. He did not score it for orchestra until 1920.
Here’s a few more ‘did you knows?’ about this most English of English-sounding music.
The work was inspired by George Meredith’s poem of the same name.
Vaughan Williams said that tune came into his head on a cliff walk while holidaying in Margate and he stopped to make some notes. This was on the first day of World War One and ships were holding fleet exercises off the coast. The composer then found himself under a citizen’s arrest by a keen young scout who thought he was a spy scribbling down details of the English coastline.
Actor Peter Sallis (Last of the Summer Wine and the voice of Wallace of Wallace and Gromit fame) is said to have requested that a copy of The Lark Ascending be buried with him.
The Lark Ascending regularly tops the polls. This year it regained number one status in the Classic FM Hall of Fame chart after a rare slip to number three in 2018. It has also been voted the nation’s favourite Desert Island Discs track and, in a 2011 American radio survey, New Yorkers ranked it number two as the music they most wanted to hear to commemorate the 10th anniversary of the Twin Towers attacks.
Dedicated to violinist Marie Hall, she gave the work its first performance in Bristol in 1920. Adrian Boult led the orchestral debut in London the following year.
We’re delighted to welcome Shulah Oliver onto our concert platform for this performance. One of the Chamber Music @ Worcester Festival’s founders and artistic directorial team, she regularly performs concertos and gives recitals throughout the UK and Europe.
Tickets for our concert, which also includes Serenade to Music are available from Eventbrite.
We sing about her, we have concerts in her honour – but who was St Cecilia and why is she the patron saint of musicians?
Well she’s thought to have come from one of third century Rome’s aristocratic and wealthy families and was said to have worn sackcloth next to her skin and constantly called upon the angels, saints and virgins to preserve her own maidenhood.
That didn’t stop her being given in marriage to the Roman Valerian but she is said to have spent the ceremony singing ‘in her heart’ to God or listening to heavenly music. No doubt Valerian was delighted when she told him on the wedding night that she had taken a vow of virginity and was now protected by an angel.
Understandably, her new husband was quite keen to see this angel,but his wife told him that wouldn’t be possible until he had travelled part way along one of Rome’s most important roads, the Via Appia and been baptised by the Pope.
This he duly did and returned to see the angel, who is then said to have crowned Cecilia with a garland of roses and lilies. Word of all this reached Valerian’s brother Tibertius who responded with his own baptism and the brothers went on to dedicate their lives to burying those killed for their faith by the city’s then prefect. The siblings were ultimately executed for their trouble.
Cecilia, meanwhile, spent her life preaching and was said to have converted over 400 people as a result but this, too, led to her arrest. She was condemned to die by suffocation in the public baths. However, despite being shut up for around 48 hours as the fires were stoked to a blazing heat, she survived – without even breaking a sweat.
So the city’s same prefect then ordered her decapitation. She was struck three times but lived on for another three days while crowds visited, collecting her blood as she continued to preach and pray.
She is buried under the high altar of her titular church in Trastevere, Rome, and is regarded as the patroness of musicians/music because of all she heard and sang on her wedding day.
Our concert, in St Martin’s Church, London Road, Worcester, comes one day after her feast day, November 22. For tickets please visit our home page or Eventbrite.
St Martin’s Church, London Road, Worcester, Saturday, April 6 2019
To celebrate its 20th anniversary, Worcester Cathedral Chamber Choir chose to programme Johannes Brahms’s magnificent Ein Deutsches Requiem (German Requiem); but with a difference. Instead of the usual orchestral accompaniment, we were treated to an arrangement for two pianos that used Brahms’s original 1869 version for piano duet as its basis.
Having only known the orchestral score, I was inevitably a little apprehensive as to whether this version would work. Brahms, a master writer for the piano did not leave the score wanting: neither too, did the choir. They gave a glorious performance (in German) under the insightful and energetic direction of their conductor Stephen Shellard.
Any doubts I may have had about this version were swept aside by the majestic opening movement ‘Blessed are they that mourn’. Even the sumptuous orchestral introduction was beautifully captured by the deep and sonorous legato lines of the two pianos, expertly played by Christopher Allsop and Robin Walker. From the perfectly paced opening, Stephen Shellard drew impassioned singing from the choir. Indeed, the choral singing throughout was compelling, incisive and well-balanced.
Of the performance’s many high points, I was especially impressed by the mighty chorus, ‘Behold, all flesh is as grass’, where the virtuosic piano writing and vigorous fugal textures added greatly to the drama. Equally striking was the thrilling singing in ‘For we have here no abiding city’. The faster sections were taken at a breathtaking pace with the pianos’ percussive incisiveness adding greatly to the overall excitement and rhythmic drive.
The soloists too added much to the success of this performance. Baritone Edward Seymour possessed a wonderfully lyrical tone and sang his solos with deft assurance, while soprano Sheila Davies was the highly expressive singer in ‘Now you have sorrow’; her bell-like clarity emerging most pleasingly against the backdrop of chorus and piano accompaniment.
Brahms envisaged his German Requiem essentially as consolation for those left behind. This concept reached its peak in the final movement, ‘Blessed are the dead’ and in spite of the valedictory nature of such a work, The German Requiem rises memorably in hushed affirmation.
The audience’s enthusiastic and appreciative response brought this 20th Anniversary Concert to a close and left many wondering what the next twenty years would bring: watch this space!
Brahms’ German Requiem is a repertoire staple of choirs around the world but usually with an accompanying orchestra. It is not often performed with a two-piano accompaniment.
For our 20th anniversary concert, Robin Walker steps out from his regular weekly rehearsal accompanist role to join King’s School Assistant Director of Music and Worcester Festival Choral Society’s conductor Christopher Allsop at the keyboard.
The fact that experienced organist, pianist, choirmaster and teacher Robin also works at King’s School has proved a bonus.
“Working under the same roof has been particularly useful for rehearsals,” he says. “Christopher and I have not played together before and it has been an enjoyable and very useful experience. Using two pianos throws us a few more challenges, such as keeping the big chords together of particular note!
“Just synchronising everything, particularly in the more energetic moments, takes some practice,” agrees Christopher.
“But it’s such a wonderful score that it’s a privilege to be able to play it on one’s own instrument. Also, working with a pianist colleague like Robin is rewarding, both socially and musically. Both of us working at King’s has certainly made scheduling rehearsals together easier!”
Practising has also required two pianos. “This arrangement uses all of both keyboards, so you would keep crashing into each other if there were two of us at just one piano.” explains Christopher.
However, audiences need not think they’ll be hearing a ‘cut down’ version of the full orchestral score.
“While both of us get a good share of the orchestral writing, very often the independent piano parts are quite different, adding variety,” says Robin.
For our conductor Stephen, using the piano version neatly avoids the possibility of repeating the disaster of the work’s 1867 premiere.
“A timpanist wrongly read an instruction to play at full volume and proceeded to drown out part of the Third Movement,” he reveals. “A contemporary critic wrote that the singers were intent on ‘shouting each other down wildly,’. Maybe they were trying to drown out the percussive din.”
The concert takes place in St Martin’s Church, London Road, on Saturday, April 6, at 7.30pm. Tickets are available from Eventbrite, from 01386 860389 or on the door.