An Evening with Haydn & Mozart, 14 May 2022
Those of us seeking an alternative to the Eurovision Song Contest were able to enjoy a pleasant evening’s music making presented by Kendal South Choir under the excellent leadership of Geoffrey Field and accompanied by Andy Plowman at the organ. Emily Robinson was the sensitive and sympathetic soloist.
The theme for the concert was to compare the settings of sacred and similar texts by Haydn and Mozart. Each half ended with a Missa Brevis and it was in these that the choir sang with most conviction and clear enjoyment, dealing confidently with the varying moods and dynamics. There were occasional difficulties with managing Haydn’s time changes and with some of the more chromatic passages in Mozart’s setting but there was a lovely use of the semi-chorus in this same work. In the Haydn one or two of the final ‘Amens’ were somewhat aggressive but this composer’s ‘Benedictus’ was particularly beautifully sung by
Emily Robinson with enthusiastic ‘Hosannas’ from the choir!
Mozart’s music was the theme for the music after the interval and the opening ‘Regina Coeli’ was bright and rhythmic with much enjoyable singing from the choir, particularly in the many ‘Alleluias’. This piece was one of several in the programme which gave Emily the opportunity to sing with great sensitivity and style. Her controlled use of vibrato, clear articulation and expressive dynamic range were most impressive and satisfying. Equally, in the earlier ‘Salve Regina’ by Haydn, she sang with delicacy and lightness of touch and the interplay between her and the choir was very pleasing.
The concert began with a ‘Non Nobis Domine’ by Haydn – an uncharacteristically sombre piece for this usually witty and inventive composer. This was perhaps not a wise choice to open proceedings; it took a while for everyone to relax into the variety of the pieces on offer. Fortunately Andy Plowman’s witty introduction to Haydn’s ‘Music for Mechanical Clock’ established the right mood to enjoy these extraordinary compositions which Andy played with his customary skill. Indeed Andy was undoubtedly the hero of the evening. He played throughout either as sympathetic accompanist or as virtuosic soloist and always with a real understanding for the most appropriate registration. All of us involved with choral singing locally are hugely indebted to the many instrumentalists on whom we can call for accompaniment and Andy Plowman is one of the best! He and Emily combined for three delightful Mozart solos in which the balance between voice and organ was perfect.
The concert closed with a rousing ‘Dona Nobis Pacem’ from soloist choir and organ which was followed by prolonged and well deserved applause. Choral singing is a long established tradition in South Cumbria; every choir is keen to attract new members but it is good that the likes of Kendal South are helping to keep the tradition alive and well and to rebuild after the pandemic. A glance in their concert programme also made clear that there is much more on offer in the coming months!
IWJ
The theme for the concert was to compare the settings of sacred and similar texts by Haydn and Mozart. Each half ended with a Missa Brevis and it was in these that the choir sang with most conviction and clear enjoyment, dealing confidently with the varying moods and dynamics. There were occasional difficulties with managing Haydn’s time changes and with some of the more chromatic passages in Mozart’s setting but there was a lovely use of the semi-chorus in this same work. In the Haydn one or two of the final ‘Amens’ were somewhat aggressive but this composer’s ‘Benedictus’ was particularly beautifully sung by
Emily Robinson with enthusiastic ‘Hosannas’ from the choir!
Mozart’s music was the theme for the music after the interval and the opening ‘Regina Coeli’ was bright and rhythmic with much enjoyable singing from the choir, particularly in the many ‘Alleluias’. This piece was one of several in the programme which gave Emily the opportunity to sing with great sensitivity and style. Her controlled use of vibrato, clear articulation and expressive dynamic range were most impressive and satisfying. Equally, in the earlier ‘Salve Regina’ by Haydn, she sang with delicacy and lightness of touch and the interplay between her and the choir was very pleasing.
The concert began with a ‘Non Nobis Domine’ by Haydn – an uncharacteristically sombre piece for this usually witty and inventive composer. This was perhaps not a wise choice to open proceedings; it took a while for everyone to relax into the variety of the pieces on offer. Fortunately Andy Plowman’s witty introduction to Haydn’s ‘Music for Mechanical Clock’ established the right mood to enjoy these extraordinary compositions which Andy played with his customary skill. Indeed Andy was undoubtedly the hero of the evening. He played throughout either as sympathetic accompanist or as virtuosic soloist and always with a real understanding for the most appropriate registration. All of us involved with choral singing locally are hugely indebted to the many instrumentalists on whom we can call for accompaniment and Andy Plowman is one of the best! He and Emily combined for three delightful Mozart solos in which the balance between voice and organ was perfect.
The concert closed with a rousing ‘Dona Nobis Pacem’ from soloist choir and organ which was followed by prolonged and well deserved applause. Choral singing is a long established tradition in South Cumbria; every choir is keen to attract new members but it is good that the likes of Kendal South are helping to keep the tradition alive and well and to rebuild after the pandemic. A glance in their concert programme also made clear that there is much more on offer in the coming months!
IWJ
A Christmas Celebration, 10 December 2021
A Christmas Celebration
Friday 10th December 2021, St Thomas's Church, Kendal
The choir must have been heartened to see such a large audience present for the Christmas Celebration on Friday, December 10. As noted in the programme notes, the last two years have been a difficult time for choirs nationwide with little or no singing in public allowed and so after such a long gap there was inevitably an air of celebration in this concert.
Part one of the concert had a Spanish flavour with six carols in Spanish. ‘Fum, fum, fum’, which opened the programme, began rather uncertainly with rhythmic untidiness and lapses in intonation but the remaining carols were more secure. The young Cumbrian guitarist Tom O’Neil provided an effective accompaniment and then presented three solos demonstrating his competence as a soloist.
Ariel Ramirez’s Navidad Nuestra brought part one to a close. This is a colourful work described as ‘A folk drama of the nativity based on rhythms and traditions of Hispanic America’. Each movement expresses the Christmas story in a popular style. The percussion players in the orchestra (suitably dressed in appropriate costume) clearly enjoyed themselves and helped to bring the work to life. The last movement ‘La Huida,’ describing Holy Family’s flight to escape persecution, was particularly effective as the choir followed Geoffrey Field’s excellent direction in taking the volume level down to illustrate the text.
Perhaps part two will linger more in the minds of anyone present because of our familiarity with the many carols that form the content of Vaughan Williams’ skilful ‘Fantasia on Christmas Carols’ and other carol settings which followed. Christopher Steele’s voice carried well in his solo sections and the opening cello introduction to the first carol, ‘This is the truth sent from above,’ was beautifully played by the first cellist. The choral singing sounded confident throughout with a robust contribution from the men in ‘Come all you worthy gentlemen’.
Of the remaining carols in the programme the most secure singing came in the performance of William Mathias’ ‘Sir Christèmas’ and the ubiquitous ‘Jingle Bells’.
Audience participation in four well-known carols was much enjoyed – particularly our rendition of ‘The Holly and the Ivy’ – which must have sent everyone home with a spring in their step.
Clive Walkley
Friday 10th December 2021, St Thomas's Church, Kendal
The choir must have been heartened to see such a large audience present for the Christmas Celebration on Friday, December 10. As noted in the programme notes, the last two years have been a difficult time for choirs nationwide with little or no singing in public allowed and so after such a long gap there was inevitably an air of celebration in this concert.
Part one of the concert had a Spanish flavour with six carols in Spanish. ‘Fum, fum, fum’, which opened the programme, began rather uncertainly with rhythmic untidiness and lapses in intonation but the remaining carols were more secure. The young Cumbrian guitarist Tom O’Neil provided an effective accompaniment and then presented three solos demonstrating his competence as a soloist.
Ariel Ramirez’s Navidad Nuestra brought part one to a close. This is a colourful work described as ‘A folk drama of the nativity based on rhythms and traditions of Hispanic America’. Each movement expresses the Christmas story in a popular style. The percussion players in the orchestra (suitably dressed in appropriate costume) clearly enjoyed themselves and helped to bring the work to life. The last movement ‘La Huida,’ describing Holy Family’s flight to escape persecution, was particularly effective as the choir followed Geoffrey Field’s excellent direction in taking the volume level down to illustrate the text.
Perhaps part two will linger more in the minds of anyone present because of our familiarity with the many carols that form the content of Vaughan Williams’ skilful ‘Fantasia on Christmas Carols’ and other carol settings which followed. Christopher Steele’s voice carried well in his solo sections and the opening cello introduction to the first carol, ‘This is the truth sent from above,’ was beautifully played by the first cellist. The choral singing sounded confident throughout with a robust contribution from the men in ‘Come all you worthy gentlemen’.
Of the remaining carols in the programme the most secure singing came in the performance of William Mathias’ ‘Sir Christèmas’ and the ubiquitous ‘Jingle Bells’.
Audience participation in four well-known carols was much enjoyed – particularly our rendition of ‘The Holly and the Ivy’ – which must have sent everyone home with a spring in their step.
Clive Walkley
Elijah, 4th May 2019
Mary Wakefield Festival 2019
Choral Celebration Day, 30th March
Adjudication by Will Prideaux
Rutter: The Sprig of Thyme and
Goodall: Eternal Light: A Requiem
24th November 2018
Under the expert direction of Don Gillthorpe, Kendal South Choir, along with a superb orchestral ensemble, presented us with the perfect antidote to all the pre Christmas hype we have been getting from multitudinous sources – long before the actual “real” time of Christmas, namely 25th December.
The choice of music for this concert was inspirational and refreshing. At times the music was very challenging but there were also some very musical moments.
The concert was divided into a secular first half with a delightful work by John Rutter called “the Sprig of Thyme”. This is a collection of some of the wonderful heritage we have of Folksongs from England, Ireland and Scotland. This has delightful moments in both the orchestral and choral parts. The choir sang with assurance, accuracy and superb diction. This could be even further improved by the singers looking happier!
These pieces were followed by two beautiful solo folksongs . The first, “The Fields of Athenry” sung by Sean Brines, a fine tenor with great potential, to his own guitar accompaniment. The second solo balanced out the folksongs of Britain by bringing in Wales, here Charles Murray, baritone, sang “The Ashgrove” arranged by Benjamin Britten. Like Sean, he is also a product of Huddersfield University where there must be fine vocal tuition available!
The second half of the evening was devoted to a fascinating work by Howard Goodall called “Eternal Light: A Requiem”. This is a Requiem with a difference. There are 10 movements which are shared between the Choir and soloists Emily Robinson soprano, Sean Baines tenor and Charles Murray, bass, and once again accompanied by the orchestral ensemble. Howard Goodall is a composer well-known for writing music in many styles (Blackadder, QI, The Vicar of Dibley to name a few) and this sees him in his serious mode. He was anxious to steer away from the conventional requiem, and this work is a mixture of biblical passages as well as poetry set to the music.
Some of the movements are far from easy but the singing was brought together by Don Gillthorpe's expert direction, and not forgetting the help the Choir have had from Assistant Directors Emma Richardson, Anne Pater and Geoffrey Field.
This is an impressive work which looks set to become a favourite Choral work amongst accomplished choirs.
MARGARET PATTINSON
The choice of music for this concert was inspirational and refreshing. At times the music was very challenging but there were also some very musical moments.
The concert was divided into a secular first half with a delightful work by John Rutter called “the Sprig of Thyme”. This is a collection of some of the wonderful heritage we have of Folksongs from England, Ireland and Scotland. This has delightful moments in both the orchestral and choral parts. The choir sang with assurance, accuracy and superb diction. This could be even further improved by the singers looking happier!
These pieces were followed by two beautiful solo folksongs . The first, “The Fields of Athenry” sung by Sean Brines, a fine tenor with great potential, to his own guitar accompaniment. The second solo balanced out the folksongs of Britain by bringing in Wales, here Charles Murray, baritone, sang “The Ashgrove” arranged by Benjamin Britten. Like Sean, he is also a product of Huddersfield University where there must be fine vocal tuition available!
The second half of the evening was devoted to a fascinating work by Howard Goodall called “Eternal Light: A Requiem”. This is a Requiem with a difference. There are 10 movements which are shared between the Choir and soloists Emily Robinson soprano, Sean Baines tenor and Charles Murray, bass, and once again accompanied by the orchestral ensemble. Howard Goodall is a composer well-known for writing music in many styles (Blackadder, QI, The Vicar of Dibley to name a few) and this sees him in his serious mode. He was anxious to steer away from the conventional requiem, and this work is a mixture of biblical passages as well as poetry set to the music.
Some of the movements are far from easy but the singing was brought together by Don Gillthorpe's expert direction, and not forgetting the help the Choir have had from Assistant Directors Emma Richardson, Anne Pater and Geoffrey Field.
This is an impressive work which looks set to become a favourite Choral work amongst accomplished choirs.
MARGARET PATTINSON
An Evening with Mozart
5th May 2018
Can you ever get too much Mozart? Apparently not, judging by last night's performance before a fair-sized audience for such a wonderfully warm, summer-like evening.
From the ‘off’ the choir gave a rousing and business-like start with the ‘Dixit Dominus’ from the first work of the evening – ‘Vesperae solennes de Confessore’.
This work was ably supported by an exciting quartet in the persons of Katy Thomson, soprano, Sarah Jillian Cox, mezzo-soprano, Jacob Clark, tenor, and Charles Murray, bass. I have to say that although the quartet blended well, in one instance the soprano was quite overwhelmed by the powerful, but excellent, voice of the mezzo.
After the interval we were treated to an organ solo by the indefatigable Ian Pattinson. He played the ‘Epistle sonata No 15 in C major’ – an excellent interlude to the singing. Ian is always good value and played this sensitively, as part of a church mass dictated.
The choir and soloists were supported by a very fine orchestra; tuning and ensemble were always good, although the addition of a double bass would have given welcome foundational tone.
The final work of the evening was The Coronation Mass, a work in six movements with confident singing throughout. When in top gear, Kendal South Choir never fails to excite and the singing is always of a very high standard. This excellent evening of music shows that Kendal South Choir’s enviable reputation is secure under their inspiring and enthusiastic conductor, Don Gillthorpe, who directed his forces with clarity and precision.
Well done to Assistant Director Emma Richardson, who has coached the choir during the term. This showed in the accuracy and confidence of the singers. Emma received a well-deserved round of applause with the orchestra and soloists at the conclusion of the concert.
C.M.
From the ‘off’ the choir gave a rousing and business-like start with the ‘Dixit Dominus’ from the first work of the evening – ‘Vesperae solennes de Confessore’.
This work was ably supported by an exciting quartet in the persons of Katy Thomson, soprano, Sarah Jillian Cox, mezzo-soprano, Jacob Clark, tenor, and Charles Murray, bass. I have to say that although the quartet blended well, in one instance the soprano was quite overwhelmed by the powerful, but excellent, voice of the mezzo.
After the interval we were treated to an organ solo by the indefatigable Ian Pattinson. He played the ‘Epistle sonata No 15 in C major’ – an excellent interlude to the singing. Ian is always good value and played this sensitively, as part of a church mass dictated.
The choir and soloists were supported by a very fine orchestra; tuning and ensemble were always good, although the addition of a double bass would have given welcome foundational tone.
The final work of the evening was The Coronation Mass, a work in six movements with confident singing throughout. When in top gear, Kendal South Choir never fails to excite and the singing is always of a very high standard. This excellent evening of music shows that Kendal South Choir’s enviable reputation is secure under their inspiring and enthusiastic conductor, Don Gillthorpe, who directed his forces with clarity and precision.
Well done to Assistant Director Emma Richardson, who has coached the choir during the term. This showed in the accuracy and confidence of the singers. Emma received a well-deserved round of applause with the orchestra and soloists at the conclusion of the concert.
C.M.
Rejoice in the Lamb
25th November 2017
22 November is the feast day of St Cecilia, the patron saint of music. It was also the birthday of Benjamin Britten, one of England's greatest composers. So it was fitting that Kendal South Choir should mark the occasion with an enterprising programme devoted to his works.
This is not easy music - the slow sustained vocal lines, rapid tongue twisters, intricate harmonies and jazzy rhythms test even the most professional choirs. Don Gillthorpe coaxed miracles from his singers - the odd mishap did not matter. Furthermore he had assembled a lineup of young soloists who were a joy to watch and hear.
In the first item Rejoice in the Lamb the marvellously contrasted solos were sung by Sieberen Granger, India Harding, Daniel Kozma-Percy and Adam Hilton. Festival Te Deum gave us a chance to hear the mellifluous soprano of Lauren Osmond. Much to commend here, but the opening section seemed too slow, and the ornaments in the organ chords should be on the beat - as a result we lost a sense of direction. Jubilate Deo in C brought the first half to a sparkling conclusion. The excellent organist was Adrian Self.
It was an intriguing idea to alternate spoken Christmas poems with the movements of Ceremony of Carols. Presumably because Ceremony on its own would have made too short a second half! Unfortunately for me it didn't work despite beautiful individual narrations from members of the choir. Momentum was lost and Britten's masterpiece is so carefully structured anyhow.
Emma Richardson directed a convincing performance but some of her slow speeds made tuning and breathing difficult for the choir. The notoriously difficult In freezing winter night was well done, as were the rhythmic intricacies of This little Babe.
The harpist, AnnaKate Pearson, was outstanding. Two solos in the first half - one French and one Welsh - were a welcome contrast to the Britten pieces. Her sympathetic accompaniment and ravishing solo interlude in Ceremony of Carols transported us to a realisation of the magical innocence of Christmas.
JONATHAN BIELBY
This is not easy music - the slow sustained vocal lines, rapid tongue twisters, intricate harmonies and jazzy rhythms test even the most professional choirs. Don Gillthorpe coaxed miracles from his singers - the odd mishap did not matter. Furthermore he had assembled a lineup of young soloists who were a joy to watch and hear.
In the first item Rejoice in the Lamb the marvellously contrasted solos were sung by Sieberen Granger, India Harding, Daniel Kozma-Percy and Adam Hilton. Festival Te Deum gave us a chance to hear the mellifluous soprano of Lauren Osmond. Much to commend here, but the opening section seemed too slow, and the ornaments in the organ chords should be on the beat - as a result we lost a sense of direction. Jubilate Deo in C brought the first half to a sparkling conclusion. The excellent organist was Adrian Self.
It was an intriguing idea to alternate spoken Christmas poems with the movements of Ceremony of Carols. Presumably because Ceremony on its own would have made too short a second half! Unfortunately for me it didn't work despite beautiful individual narrations from members of the choir. Momentum was lost and Britten's masterpiece is so carefully structured anyhow.
Emma Richardson directed a convincing performance but some of her slow speeds made tuning and breathing difficult for the choir. The notoriously difficult In freezing winter night was well done, as were the rhythmic intricacies of This little Babe.
The harpist, AnnaKate Pearson, was outstanding. Two solos in the first half - one French and one Welsh - were a welcome contrast to the Britten pieces. Her sympathetic accompaniment and ravishing solo interlude in Ceremony of Carols transported us to a realisation of the magical innocence of Christmas.
JONATHAN BIELBY
Magnificat
6th May 2017
Kendal South Choir
‘Magnificat’
Saturday May 6th, 2017
St Thomas’s Church, Kendal
A large audience was treated to a skilfully devised programme on the theme of Mary, starting with a setting of the Magnificat by Vivaldi which choir, soloists and orchestra performed with evident enjoyment. The nine short movements were well contrasted in style with a splendidly concerted opening and some well negotiated rhythms in later movements. A chamber organ would have suited the music better than the resident organ and it was perhaps a shame that the gaps between movements were quite so long but the four soloists, Katy Thompson, Sarah Jillian Cox, Jacob Clark and Charlie Murray were stylistic and well matched.
Five short unaccompanied pieces for the choir followed including a movement from the Rachmaninov ‘Vespers’ which suited the choir well and created a convincing Russian sound. Maintaining pitch was a problem occasionally, particularly in the pieces by Grieg and Britten, but never so much as to spoil the enjoyment of some very sensitive singing.
The triumph of the evening was a new work – ‘Magnificat’ by Lancaster-born Oliver Tarney – which was receiving its first Kendal performance. Once again the four soloists were splendid: confident in their intonation and committed to the text. Kendal South responded very well indeed to the physical and vocal demands of this very substantial piece. The performance was entirely convincing and frequently very moving as the composer captured the very human responses which Mary and Joseph must have felt to their situation. Most impressive of all was the writing for the orchestra which was played superbly by the strings, percussion and piano, led by Jill Jackson.
Altogether this was a most rewarding evening’s music-making and the choir, under Don Gillthorpe’s guidance are to be congratulated!
IAN JONES
‘Magnificat’
Saturday May 6th, 2017
St Thomas’s Church, Kendal
A large audience was treated to a skilfully devised programme on the theme of Mary, starting with a setting of the Magnificat by Vivaldi which choir, soloists and orchestra performed with evident enjoyment. The nine short movements were well contrasted in style with a splendidly concerted opening and some well negotiated rhythms in later movements. A chamber organ would have suited the music better than the resident organ and it was perhaps a shame that the gaps between movements were quite so long but the four soloists, Katy Thompson, Sarah Jillian Cox, Jacob Clark and Charlie Murray were stylistic and well matched.
Five short unaccompanied pieces for the choir followed including a movement from the Rachmaninov ‘Vespers’ which suited the choir well and created a convincing Russian sound. Maintaining pitch was a problem occasionally, particularly in the pieces by Grieg and Britten, but never so much as to spoil the enjoyment of some very sensitive singing.
The triumph of the evening was a new work – ‘Magnificat’ by Lancaster-born Oliver Tarney – which was receiving its first Kendal performance. Once again the four soloists were splendid: confident in their intonation and committed to the text. Kendal South responded very well indeed to the physical and vocal demands of this very substantial piece. The performance was entirely convincing and frequently very moving as the composer captured the very human responses which Mary and Joseph must have felt to their situation. Most impressive of all was the writing for the orchestra which was played superbly by the strings, percussion and piano, led by Jill Jackson.
Altogether this was a most rewarding evening’s music-making and the choir, under Don Gillthorpe’s guidance are to be congratulated!
IAN JONES
Mary Wakefield Festival 2017
Choral Celebration Day, 25th March
Adjudication by Rachael Lee
Haydn: The Creation
7th May 2016
Last night's concert was a joyous, yet sad, occasion: joyous because Kendal South Choir (KSC) have never sung better, and sad because it was a concert which marked the last time their Director of Music, Ian Thompson, will be in the driving seat of this wonderful choir.
Haydn's Creation is a lengthy work which the choir tackled with great gusto. I was really held by this marvellously tuneful performance and must mention the duet and chorus in Part 3, 'By thee with bliss' and, of course, The heavens are telling' in Part 1.
The supporting soloists were Laurie Ashworth (soprano), Ian Caddy (bass) and Richard Pollock (tenor), all of whom gave great performances - although the tenor did tend to put his foot on the loud pedal at times! Some very powerful and yet sensitive singing.
The orchestra appears to have grown in size since their last concert, but their playing was spectacular and, with some sweet notes from the cello, were very sensitive during the solos.
This performance was excellent and a fitting tribute to Ian Thompson, whose dedication, direction and general graft made sure he went out in a blaze of glory! I am sure the choir will miss him.
Well done everyone!
CHRISTINE MOORE
Haydn's Creation is a lengthy work which the choir tackled with great gusto. I was really held by this marvellously tuneful performance and must mention the duet and chorus in Part 3, 'By thee with bliss' and, of course, The heavens are telling' in Part 1.
The supporting soloists were Laurie Ashworth (soprano), Ian Caddy (bass) and Richard Pollock (tenor), all of whom gave great performances - although the tenor did tend to put his foot on the loud pedal at times! Some very powerful and yet sensitive singing.
The orchestra appears to have grown in size since their last concert, but their playing was spectacular and, with some sweet notes from the cello, were very sensitive during the solos.
This performance was excellent and a fitting tribute to Ian Thompson, whose dedication, direction and general graft made sure he went out in a blaze of glory! I am sure the choir will miss him.
Well done everyone!
CHRISTINE MOORE
Music for Passiontide
20th February 2016
It is a fact that South Lakes in general, and Kendal in particular, has an excellent record of making music covering many genres. I once counted 71 concerts in one season between October and December - difficult to attend most or all of them. Kendal South Choir has a reputation for being amongst that truly great tradition.
The' Music for Passiontide' programme began with Stainer's 'Crucifixion'. It was explained beforehand that, due to an unfortunate accident, Jolyon Dodgson's place would be taken by Stuart Orme, baritone. The other soloist was Alexander Banfield, tenor, who started the work with a most beautiful recitative, which set the scene for the whole work. What a joyous opening! Accompanying throughout the evening was Ian Pattison at the organ - Ian, a great stalwart in this area, and a boon to choirs.
The choir were on top form, buoyed up, I suspect, by the fine support of these two soloists who looked about 19, but what voices and, of course, they were young! I don't know if they had ever sung together before, but their voices blended beautifully. Full marks for choice!
Ian Thompson had really worked hard with the choir and it showed. There was some real drama about the work which was evident in their faces. Three male soloists from the choir performed valiantly. I always think this is a big ask when professional soloists are standing by. Good, even choral singing and great to hear the choir sing as one, especially during the audience participation hymns - we could have been in a cathedral.
After the interval there followed two excerpts from St Matthew Passion - again excellent singing although several sopranos sounded a little reedy. This was followed by Bach's 'Prelude and Fugue in B minor' played dramatically on the organ by Ian Thompson. Then followed 'Five Mystical Songs' by R Vaughan Williams: Easter; I got me flowers; Love bade me welcome; The Call and Antiphon - all beautifully sung, save for the hiatus during song three when the organ appeared to catch fire and business was temporarily halted until the caretaker proclaimed all was well and it was the fault of an overheated lamp!
I look forward to Kendal South's next offering (and sadly Ian Thompson's last) - The Haydn Creation on May 7th.
CHRISTINE MOORE
21.2.2016
The' Music for Passiontide' programme began with Stainer's 'Crucifixion'. It was explained beforehand that, due to an unfortunate accident, Jolyon Dodgson's place would be taken by Stuart Orme, baritone. The other soloist was Alexander Banfield, tenor, who started the work with a most beautiful recitative, which set the scene for the whole work. What a joyous opening! Accompanying throughout the evening was Ian Pattison at the organ - Ian, a great stalwart in this area, and a boon to choirs.
The choir were on top form, buoyed up, I suspect, by the fine support of these two soloists who looked about 19, but what voices and, of course, they were young! I don't know if they had ever sung together before, but their voices blended beautifully. Full marks for choice!
Ian Thompson had really worked hard with the choir and it showed. There was some real drama about the work which was evident in their faces. Three male soloists from the choir performed valiantly. I always think this is a big ask when professional soloists are standing by. Good, even choral singing and great to hear the choir sing as one, especially during the audience participation hymns - we could have been in a cathedral.
After the interval there followed two excerpts from St Matthew Passion - again excellent singing although several sopranos sounded a little reedy. This was followed by Bach's 'Prelude and Fugue in B minor' played dramatically on the organ by Ian Thompson. Then followed 'Five Mystical Songs' by R Vaughan Williams: Easter; I got me flowers; Love bade me welcome; The Call and Antiphon - all beautifully sung, save for the hiatus during song three when the organ appeared to catch fire and business was temporarily halted until the caretaker proclaimed all was well and it was the fault of an overheated lamp!
I look forward to Kendal South's next offering (and sadly Ian Thompson's last) - The Haydn Creation on May 7th.
CHRISTINE MOORE
21.2.2016
Hymn of Praise
10th October 2015
Mendelssohn's Hymn of Praise got off to a flying start thanks to the expertise at the organ of Ian Pattinson. The rousing chorus which followed set the programme in good stead, though not all watched the conductor!
What followed in this piece was sensitively sung with good light and shade – indeed some joyous singing and the best rendition of this work I have heard to date. Clear, crisp singing by the two sopranos: Emily Robinson (whose voice I have often enjoyed) and Fiona Weakley – new to me but equally enjoyable. The solo line-up was completed by the welcome return of Christopher Steele (tenor) – always good value to any ensemble – and took "The sorrows of death" by the scruff of the neck – excellent!
"The night is departing" was not quite together, but was more than made up for in the following "Let all men praise the Lord", which contained the tune to the popular hymn, "Now thank we all our God".
Following the interval we were treated to some fine singing, especially from the gentlemen of the chorus, with two English anthems: Bairstow's "Blessed City, heavenly Salem" and Wesley's "Blessed be the God and Father". This was followed by three duets for soprano by Handel – none recognisable by title, but all recognisable by tune. Then came Vaughan Williams' "Toward the Unknown Region". The choir performed this about two years ago with the Westmorland Orchestra and it had lost none of its pace and musicality – quite a difficult work to learn.
Finally, two tenor arias: Verdi's "Questa o quella" and "Un di all'azzurro spazio" by Giordano and sung with great gusto. Then two opera choruses: Rossini's "Prayer" and "The Easter Hymn" by Mascagni. What a way to close a show – I was transported! Thanks to the conductor, Ian Thompson, for steering the choir through such a well-balanced programme.
CHRISTINE MOORE
12.10.15
What followed in this piece was sensitively sung with good light and shade – indeed some joyous singing and the best rendition of this work I have heard to date. Clear, crisp singing by the two sopranos: Emily Robinson (whose voice I have often enjoyed) and Fiona Weakley – new to me but equally enjoyable. The solo line-up was completed by the welcome return of Christopher Steele (tenor) – always good value to any ensemble – and took "The sorrows of death" by the scruff of the neck – excellent!
"The night is departing" was not quite together, but was more than made up for in the following "Let all men praise the Lord", which contained the tune to the popular hymn, "Now thank we all our God".
Following the interval we were treated to some fine singing, especially from the gentlemen of the chorus, with two English anthems: Bairstow's "Blessed City, heavenly Salem" and Wesley's "Blessed be the God and Father". This was followed by three duets for soprano by Handel – none recognisable by title, but all recognisable by tune. Then came Vaughan Williams' "Toward the Unknown Region". The choir performed this about two years ago with the Westmorland Orchestra and it had lost none of its pace and musicality – quite a difficult work to learn.
Finally, two tenor arias: Verdi's "Questa o quella" and "Un di all'azzurro spazio" by Giordano and sung with great gusto. Then two opera choruses: Rossini's "Prayer" and "The Easter Hymn" by Mascagni. What a way to close a show – I was transported! Thanks to the conductor, Ian Thompson, for steering the choir through such a well-balanced programme.
CHRISTINE MOORE
12.10.15
Messiah
13th December 2014
Choir excels in emotional Messiah
"If you were not at Kendal South Choir's performance of Messiah, then be very sad, for you missed a deeply moving experience.
"Soloists Laurie Ashworth, Sarah Jillian Cox, Richard Pollock and Paul im Thurn sang with great feeling and the choir truly excelled. Always responsive to Director of Music Ian Thompson they ranged from quiet and intense to joyful and triumphant.
"The whispering at the start of "For unto us a child is born" would not have woken the babe, but the rapturous "Wonderful, Counsellor" was spine tingling as all voices blended beautifully - splendidly accompanied by Lonsdale Baroque Ensemble (leader Julian Cann) and Ian Pattinson on the organ.
"This was a performance where every word could be heard and was sung beautifully and with conviction. It was like hearing Messiah for the first time."
MOIRA GREENHALGH
Westmorland Gazette
January 1 2015
And a letter to the Westmorland Gazette (23rd December) from a satisfied customer:
"If you were not at Kendal South Choir's performance of Messiah, then be very sad, for you missed a deeply moving experience.
"Soloists Laurie Ashworth, Sarah Jillian Cox, Richard Pollock and Paul im Thurn sang with great feeling and the choir truly excelled. Always responsive to Director of Music Ian Thompson they ranged from quiet and intense to joyful and triumphant.
"The whispering at the start of "For unto us a child is born" would not have woken the babe, but the rapturous "Wonderful, Counsellor" was spine tingling as all voices blended beautifully - splendidly accompanied by Lonsdale Baroque Ensemble (leader Julian Cann) and Ian Pattinson on the organ.
"This was a performance where every word could be heard and was sung beautifully and with conviction. It was like hearing Messiah for the first time."
MOIRA GREENHALGH
Westmorland Gazette
January 1 2015
And a letter to the Westmorland Gazette (23rd December) from a satisfied customer:
Faure Requiem and Other French Music
25th January 2014
"Kendal South Choir brought a little French warmth to Kendal on a cold January evening when the singers, with organist, Hugh Davies, soloists Tracie Penwarden and Jolyon Dodgson, all under the direction of Ian Thompson, presented a programme of 19th century music from across the channel.
"Part one of their programme was given over to a performance of Faure's lovely Requiem.
"The choral singing was impressive in loud passages (the men's cry of 'Hosanna' in the Sanctus was particularly thrilling) but less so in passages intended by the composer to be sung quietly, when there was a tendency for the pitch to drop in the soprano section.
"Perhaps breath control was the issue here as there was a noticeable tendency for the singers to break up Faure's long lines into shorter phrase lengths.
"Tracie and Jolyon gave a good account of their respective solos, and Hugh gave the choir firm support, coaxing some French tone colours out of the church's electronic organ.
"The second half of the concert consisted of shorter items by Berlioz, more Faure, Louis Vierne, Saint Saens and Cesar Franck.
"The latter's stirring setting of Psalm 150 clearly suited the singers: aided by the resonant acoustic of St Thomas's, they filled the space with sound and were warmly applauded as a reward."
CLIVE WALKLEY
Westmorland Gazette
6th February 2014
"Part one of their programme was given over to a performance of Faure's lovely Requiem.
"The choral singing was impressive in loud passages (the men's cry of 'Hosanna' in the Sanctus was particularly thrilling) but less so in passages intended by the composer to be sung quietly, when there was a tendency for the pitch to drop in the soprano section.
"Perhaps breath control was the issue here as there was a noticeable tendency for the singers to break up Faure's long lines into shorter phrase lengths.
"Tracie and Jolyon gave a good account of their respective solos, and Hugh gave the choir firm support, coaxing some French tone colours out of the church's electronic organ.
"The second half of the concert consisted of shorter items by Berlioz, more Faure, Louis Vierne, Saint Saens and Cesar Franck.
"The latter's stirring setting of Psalm 150 clearly suited the singers: aided by the resonant acoustic of St Thomas's, they filled the space with sound and were warmly applauded as a reward."
CLIVE WALKLEY
Westmorland Gazette
6th February 2014
Rossini Petite Messe Solennelle,
13th April 2013
Baroquefest, 8th December 2012
Baroque at its best
Kendal South Choir
St Thomas’s Church, Kendal
Baroque-Fest was the title of the Kendal South Choir concert – and it certainly lived up to expectations, with both the choir and the Lonsdale Baroque Ensemble on fine form.
Conductor Ian Thompson showed skill in multi-tasking, not only creating a cohesive and satisfying result in Purcell’s Te Deum and Sing unto the Lord but also showing keyboard virtuosity as soloist in Handel’s delightful Cuckoo and Nightingale Concerto. Four fine soloists made a stylish contribution.
When Bach wrote his virtuosic Cantata 51 he must have had a really good soprano and trumpeter at hand. Soprano Jacqueline Pischorn coped valiantly, but Stella FitzGerald’s superb trumpet playing stole the show.
Two 20th Century pieces, Britten’s A Hymn to the Virgin and Philip Wood’s Look up, sweet babe might have been unexpected in the programme, but Handel’s two Coronation anthems, Zadok the Priest and The King shall rejoice, were glorious, the vibrant singing and fine playing bringing alive this magnificent music. Let’s hope they will be heard again in 2013 for the anniversary of the Coronation.
C FAWTHROP
Westmorland Gazette
December 27 2012
Kendal South Choir
St Thomas’s Church, Kendal
Baroque-Fest was the title of the Kendal South Choir concert – and it certainly lived up to expectations, with both the choir and the Lonsdale Baroque Ensemble on fine form.
Conductor Ian Thompson showed skill in multi-tasking, not only creating a cohesive and satisfying result in Purcell’s Te Deum and Sing unto the Lord but also showing keyboard virtuosity as soloist in Handel’s delightful Cuckoo and Nightingale Concerto. Four fine soloists made a stylish contribution.
When Bach wrote his virtuosic Cantata 51 he must have had a really good soprano and trumpeter at hand. Soprano Jacqueline Pischorn coped valiantly, but Stella FitzGerald’s superb trumpet playing stole the show.
Two 20th Century pieces, Britten’s A Hymn to the Virgin and Philip Wood’s Look up, sweet babe might have been unexpected in the programme, but Handel’s two Coronation anthems, Zadok the Priest and The King shall rejoice, were glorious, the vibrant singing and fine playing bringing alive this magnificent music. Let’s hope they will be heard again in 2013 for the anniversary of the Coronation.
C FAWTHROP
Westmorland Gazette
December 27 2012
Brahms Requiem, 28th April 2012
Choir rises to challenge
Under the direction of Ian Thompson, Kendal South Choir presented a well-balanced, sensitive rendering of Brahms Requiem and followed this with choruses from well-known operas by Handel, Mozart, Verdi and Mascagni. The Requiem is a challenge for any choir and Kendal South gave us some beautiful musical moments, though I did feel their stamina was flagging near the end. I feel credit must be given to the tenors and basses who were on particularly fine vocal form!
Ian Pattinson accompanied the singing on the Copeman Hart organ at St Thomas’s Church, and by very skilful registrations and beautiful playing provided a very good substitute for a real orchestra. A superb professional timpanist was included who added greatly to the dramatic effect with his expert and sensitive playing.
After the interval the two soloists, Laurie Ashworth and David Rees-Jones, who were a joy to listen to throughout the evening, delighted the audience with a duet from Mozart’s Magic Flute and the choir moved expertly from the elevated sentiments of Brahms to exciting opera choruses. This, I did think, was inspired programming by Ian Thompson and a good way to lighten the evening. The audience obviously enjoyed listening!
MARGARET PATTINSON
Westmorland Gazette
Thursday May 10 2012
Under the direction of Ian Thompson, Kendal South Choir presented a well-balanced, sensitive rendering of Brahms Requiem and followed this with choruses from well-known operas by Handel, Mozart, Verdi and Mascagni. The Requiem is a challenge for any choir and Kendal South gave us some beautiful musical moments, though I did feel their stamina was flagging near the end. I feel credit must be given to the tenors and basses who were on particularly fine vocal form!
Ian Pattinson accompanied the singing on the Copeman Hart organ at St Thomas’s Church, and by very skilful registrations and beautiful playing provided a very good substitute for a real orchestra. A superb professional timpanist was included who added greatly to the dramatic effect with his expert and sensitive playing.
After the interval the two soloists, Laurie Ashworth and David Rees-Jones, who were a joy to listen to throughout the evening, delighted the audience with a duet from Mozart’s Magic Flute and the choir moved expertly from the elevated sentiments of Brahms to exciting opera choruses. This, I did think, was inspired programming by Ian Thompson and a good way to lighten the evening. The audience obviously enjoyed listening!
MARGARET PATTINSON
Westmorland Gazette
Thursday May 10 2012
Christmas Concert 2011
Messiah a real crowd pleaser
A performance of Handel's Messiah can be guaranteed to attract a large audience: such was the case when Kendal South Choir, under Ian Thompson, presented the work in Kendal.
This was a well-prepared performance. The work requires choral stamina - an ability to produce a light and airy sound; at the same time to maintain rhythmic drive and energy. The many florid choruses were taken at a manageable speed and, in general, the choir coped well and showed only occasional signs of strain.
The chorus 'He trusted in God' was particularly impressive for its vitality.
Instrumentally, it was refreshing to hear the Pastoral Symphony - a shepherds' dance - performed by wind instruments. Allocating this passage to oboes and bassoon instead of the usual muted strings emphasises the rustic nature of this music.
The four professional soloists, all with local connections, acquitted themselves well in the arias and recitatives. There were moments of great tenderness from soprano Charlotte Jackson, and mezzo-soprano Emma Stannard (a former pupil of Charlotte's).
Tenor and bass soloists, Adam Smith and Paul im Thurn, were impressive in their portrayal of emotions, from exaltation to rage, and Lonsdale Baroque Ensemble, a small string and wind band, provided a stylish accompaniment throughout.
CLIVE WALKLEY
Westmorland Gazette
Thursday December 22, 2011
A performance of Handel's Messiah can be guaranteed to attract a large audience: such was the case when Kendal South Choir, under Ian Thompson, presented the work in Kendal.
This was a well-prepared performance. The work requires choral stamina - an ability to produce a light and airy sound; at the same time to maintain rhythmic drive and energy. The many florid choruses were taken at a manageable speed and, in general, the choir coped well and showed only occasional signs of strain.
The chorus 'He trusted in God' was particularly impressive for its vitality.
Instrumentally, it was refreshing to hear the Pastoral Symphony - a shepherds' dance - performed by wind instruments. Allocating this passage to oboes and bassoon instead of the usual muted strings emphasises the rustic nature of this music.
The four professional soloists, all with local connections, acquitted themselves well in the arias and recitatives. There were moments of great tenderness from soprano Charlotte Jackson, and mezzo-soprano Emma Stannard (a former pupil of Charlotte's).
Tenor and bass soloists, Adam Smith and Paul im Thurn, were impressive in their portrayal of emotions, from exaltation to rage, and Lonsdale Baroque Ensemble, a small string and wind band, provided a stylish accompaniment throughout.
CLIVE WALKLEY
Westmorland Gazette
Thursday December 22, 2011
Spring Concert 2011
Balanced baroque a true delight
Kendal South Choir under the directorship of Mark Swinton, presented a lovely programme of Baroque Music with an Italian flavour, which delighted a discerning audience in Kendal Parish Church.
"he choir was accompanied by a superb small orchestra, expertly led by Julian Cann and the skilful continuo realisation of Ian Pattinson on the delightful Bevington organ.
The concert included two pieces by Monteverdi - the well known Beatus Vir and a less well known but more meditative motet - Christe, Adoramus Te. This was followed by Carissimi’s setting of the story of Jepthe and the well-known Gloria of Vivaldi, which presented a well balanced programme.
Kendal South had on this occasion, opted to invite young soloists, two from the Royal Northern College of Music, Emma Stannard and Adam Smith - and the more experienced local soprano, Rachel Little. The Carissimi setting of Jepthe is written in a very particular genre requiring singers experienced in the Baroque Style, both from soloists and choir, and some sections were tentative, but many very beautiful, including the moving closing chorus Plorate fili Israel.
The Gloria of Vivaldi was the most confident rendering of the items in the concert and I particularly enjoyed the fine oboe playing in the accompaniment to the soprano solo Domine Deus.
MARGARET PATTINSON
Westmorland Gazette
28th April 2011
Kendal South Choir under the directorship of Mark Swinton, presented a lovely programme of Baroque Music with an Italian flavour, which delighted a discerning audience in Kendal Parish Church.
"he choir was accompanied by a superb small orchestra, expertly led by Julian Cann and the skilful continuo realisation of Ian Pattinson on the delightful Bevington organ.
The concert included two pieces by Monteverdi - the well known Beatus Vir and a less well known but more meditative motet - Christe, Adoramus Te. This was followed by Carissimi’s setting of the story of Jepthe and the well-known Gloria of Vivaldi, which presented a well balanced programme.
Kendal South had on this occasion, opted to invite young soloists, two from the Royal Northern College of Music, Emma Stannard and Adam Smith - and the more experienced local soprano, Rachel Little. The Carissimi setting of Jepthe is written in a very particular genre requiring singers experienced in the Baroque Style, both from soloists and choir, and some sections were tentative, but many very beautiful, including the moving closing chorus Plorate fili Israel.
The Gloria of Vivaldi was the most confident rendering of the items in the concert and I particularly enjoyed the fine oboe playing in the accompaniment to the soprano solo Domine Deus.
MARGARET PATTINSON
Westmorland Gazette
28th April 2011
Christmas Concert 2010
Kendal Parish Church is exceptionally beautiful but, with its vast spaces, it is also exceptionally difficult for performing, and listening to, music. So, if I was disappointed by the first half of Kendal South Choir's Christmas concert, the fault was mine rather than the Choir's: I sat too far from the singers. No problem of course with the carols for us all to sing when, besides the choir and organ, we had the rich sounds of The Lakeland Brass Ensemble to inspire us to lift up our voices. Excellent.
The second half of the programme, however, certainly did not disappoint: having moved forward in the interval, I enjoyed one of the musical treats of the year: by imaginative use of resources, Mark Swinton achieved a truly enchanting performance of Rutter's cycle When lcicles Hang ... : behind us subtle string sounds from the organ (lan Pattinson); from our left delicately percussive sounds from the piano (Clive Walkley); before us the Choir singing sensitively and expressively. Never have icicles seemed colder or more sharply pointed! lt was very beautiful.
No space for mention of other treats but the Choir's evident delight in the music they sang under Swinton's energetic and impressively precise direction was infectious and we left with a real sense of Christmas joy.
ROBIN ORR
Westmorland Gazette
6 January 2011
The second half of the programme, however, certainly did not disappoint: having moved forward in the interval, I enjoyed one of the musical treats of the year: by imaginative use of resources, Mark Swinton achieved a truly enchanting performance of Rutter's cycle When lcicles Hang ... : behind us subtle string sounds from the organ (lan Pattinson); from our left delicately percussive sounds from the piano (Clive Walkley); before us the Choir singing sensitively and expressively. Never have icicles seemed colder or more sharply pointed! lt was very beautiful.
No space for mention of other treats but the Choir's evident delight in the music they sang under Swinton's energetic and impressively precise direction was infectious and we left with a real sense of Christmas joy.
ROBIN ORR
Westmorland Gazette
6 January 2011
