Come and hear BFCS sing Rossini’s lovely Petite Messe Solennelle on Saturday 28th March!
The Petite Messe Solennelle was written for performance at one of the very popular weekly musical salons held by Rossini and his wife at their home. As such, it was originally scored for a small choir, accompanied by two pianos, with harmonium or accordion. We are looking forward to singing with piano and accordion accompaniment.
Caroline Modiba, soprano, Rachel Gilmore, mezzo soprano,
Joe Kennedy, baritone, Richard Hansen, tenor.
Kevin Gill, piano, Ben De Souza, accordion
Rossini achieved superstar status early in life, having written over 40 operas by the age of 37. The William Tell Overture is one of the pieces for which he is best known in popular culture today. There followed a period of 25 years of ill health, during which he didn’t compose any new music.
In 1855 Rossini ‘returned to life’ on moving to Paris with his second wife, and their musical salons became internationally famous. These salons included music by many composers, and they inspired Rossini to write over 150 small works for performance by different soloists and ensembles.
The Petite Messe Solennelle was Rossini’s last major work , written in 1863. The opera composer’s beautiful melodies , colour and drama make this one of the most popular works in the choral repertoire. We love singing it, and we’re sure that you will enjoy listening to it!
Our Messiah concert on 16th November was a wonderful occasion for both performers and audience. So many people came to hear the concert that the conductor and performers had to be turned back five times, as people were still arriving and more chairs had to be found! Eventually we were all settled and that wonderful music began…
Handel certainly knew how to write music that is a pleasure to sing! We received many compliments from members of the audience on our diction, phrasing, dynamics and energy. One ordained listener said that the concert was an inspiring spiritual experience for him.
Please click the arrows to see photos from all sections of the choir.
The Musical and Amicable Society were a perfect balance to the choir. They played beautifully and effortlessly.
” The trumpet shall sound”
What did our concert have in common with the royal wedding of Harry and Meghan? David Blackadder, the trumpeter! At the royal wedding he played Handel’s beautiful ‘Eternal Source of Light Divine, with the soprano Elin Manahan Thomas.
He is on the right of this photo, with Matthew Frost.
Our wonderful soloists: James Williams, baritone, Phillipa Thomas, Mezzo, Penelope Appleyard, soprano and Xavier Hetherington, tenor.
The man who brought it all together: our talented Music Director David Wynne. His wardrobe of shoes is a constant source of fascination!
We were delighted with the standing ovation and long applause at the end of the concert . A memorable concert from start to finish!
Many thanks to Alfred White for this wonderful gallery of photographs. Thank you also to Mary Keating for the picture of ‘the shoes’ and one other from her seat in the audience.
We are delighted to to tell you about the top class soloists and baroque orchestra who will be performing ‘Messiah’ with us on 16th November! The concert will take place in the gothic church of St Alban the Martyr, Highgate, Birmingham, known for its beautiful acoustics.
THE BAROQUE ORCHESTRA
The Musical and Amicable Society society last performed with Birmingham Festival Choral Society in Bach’s St John Passion, in 2018. They are a collective of professional period-instrument specialists, performing in combinations ranging from small ensembles to full orchestra all over the country. Their presence will add a touch of Baroque magic to our performance!
Penelope Appleyard , Soprano.
Known for her clear and agile voice, Penelope Appleyard enjoys a busy freelance career as a soloist and ensemble singer, predominantly in the field of early music.
Penelope studied with Christine Cairns and Andrew King at the Royal Birmingham Conservatoire, and in 2019 was awarded Honorary Membership of the Conservatoire for notable success since graduation. She has performed and recorded throughout the UK and internationally.
Xavier Hetherington, Tenor.
After graduating from St John’s College, Cambridge, and a brief period of study in Moscow, Xavier returned to the UK to study privately with Christine Cairns. He won a prestigious scholarshiop to the Royal College of Music, London, where he learns with Russell Smythe.
As a concert soloist Xavier has sung in Cathedrals and churches throughout England and in halls such as St John’s Smith Square and Wigmore Hall. He supported by Opera Prelude and has taken part in Operas in many places including the Royal College of Music, Dartington Festival and in the chorus at Glyndebourne.
Phillipa Thomas, Mezzo.
Phillipa Thomas began her studies at the University of York, where she was awarded the Concerto Prize, before continuing to further success, winning first place in the Birmingham Conservatoire Singing Prize. Since then, she has performed many operatic roles.
On the oratorio platform, Phillipa has been fortunate to work as a soloist with renowned choral societies and orchestras across the UK. Her extensive knowledge of and passion for sacred music has led to frequent performances of works from a variety of periods.
Phillipa has also recorded numerous oratorio solos as part of a project with the professional ensemble Blossom Street Singers. Phillipa is currently working at Oper Köln in their production of Brett Dean’s Hamlet and future projects include a follow-up album to the widely acclaimed Blossom Street recording, This Day.
James Willams, Baritone.
James Williams studied at the Royal Academy of Music, London, during which time he received training from eminent figures, such as Richard Bonynge, Simon Keenlyside and John Shirley-Quirk. Since graduating, he has enjoyed an active performing career throughout the UK, Europe and Asia.
James served as Musical Director for Brent Opera during their productions of Macbeth, Martha, and Nabucco, while having worked as a répétiteur for various London-based opera companies. As a composer, he recently witnessed the premiere of his Mass for St. Helen, as well as his commemorative cycle of war songs for baritone and piano, performed to mark the 100th anniversary of the Armistice.
Saturday 16 November 2019, 7.30pm
Church of St Alban the Martyr, Stanhope St, Birmingham B12 0YF
The concert took place at the Music University in Bucharest. As we arrived for our rehearsal, graduation ceremonies were just coming to an end.
[Where you see dots below the picture, please click the arrows to see the full slide show.]
BFCS singers gathering in the auditorium:
Cor cu Dor sang in the first half of the concert, including an excellent performance of Bohemian Rhapsody and many other songs in English (from memory too!).
The two choirs came together to perform a Romanian folk song. We were glad that Cor cu Dor were able to keep up with the Romanian words at that pace – we couldn’t!
In the second half BFCS performed a programme of folk songs from the British Isles, music by English composers and choral classics. Alexandra Wynne was our soprano soloist, Kevin Gill our accompanist, and David Wynne our music director.
Taking the applause.
One member of the youth choir said “I hope that I can sing as well as you when I am old” (!)
Here’s the last verse of the lovely setting of Irish Blessing by Bob Chilcott, sung as an encore.
Many thanks to our photographers Alfred White and Marilyn Kent, for taking the photographs in such difficult conditions of extreme light and dark. Thanks also to Marilyn and Sandra Smith for the videos. We are grateful to Cor cu Dor for giving permission to use the photographs taken by their photographer Andra Aron.
Our summer concert of English choral music was held in the historic Collegiate church of St Mary, Warwick last Saturday, 6th July. It was a special day out for our singers and supporters, and it also introduced the choir to a new audience in Warwickshire.
The rehearsal gave us the chance to get used to singing in that big, airy space, accompanied by the grand piano, or the magnificent organ. Our gentlemen stood in the church’s semicircular choir stalls, and the sopranos and altos filled in the semicircle in front of the stalls.
The break between rehearsal and concert gave some the chance to explore the medieval Beauchamp chapel, with the magnificent tombs of three Earls.
The concert showed the full range of English choral music, from the purity of Stanford’s Blue Bird and folk song arrangements with piano, to the grand sound of Parry and Elgar with full choir and organ.
We sang music written by Tallis in the 16th Century and Purcell in the 17th century, right through to Bob Chilcott’s 21st century pieces.
Elgar’s Songs from the Bavarian Highlands showed a lighter side to the composer we thought we knew so well. A holiday souvenir with a difference!
Solo verses in the folk songs were sung by Mitch Holland and David Wynne, and Kevin Gill treated us to an organ solo: Stanford’s Postlude in D minor.
Finally, we sang Chilcott’s Irish Blessing as an encore. Singing it from memory made it feel extra special – a fitting end to our 2018/19 BFCS season.
Thanks to Peter Wright for the photographs of the choir.
Bucharest day 2 started with a free morning! Some singers set off bright and early for sight-seeing, but others took the opportunity to rest, communicate with home, write a tour blog (!) and just have a quiet stroll around and a bite to eat.
The University of Music was a 20 minute walk from the hotel, and soon identified by the graduating music students in cap and gown, and the BFCS poster on the notice board outside.
Inside, we had our first glimpse of the youth choir, Cor cu Dor, who were to share our concert that evening. As they rehearsed we were bowled over by their perfect performance of popular songs in English from memory. Their ages ranged from about 7 to 18 years of age,and they were led by an inspirational lady who communicated exactly what she wanted through her gestures, rather than a strict beat.
In the concert later we also heard them give an interesting representation of the dawn chorus, and other difficult rhythmic songs, but the star piece was a full version of Queen’s ‘Bohemian Rhapsody’ with choreography.
We learnt afterwards that they practise 3 times a week, and practise every day when they have a performance coming up.
Our performance provided a contrast, but we hope that the young people and the rest of the audience were inspired by hearing a full SATB choir from the English choral tradition, plus our soprano soloist Alexandra Wynne. They certainly responded to every song with whoops and cheers!
Solo lines in our folk songs were taken by David Wynne and Mitch Holland, and Geoff Evans and Barry Jones sang the solo lines in ‘Let all mortal flesh keep silence’.
This choir tour had been moved to May (instead of the usual July / August) in the hope of finding lower temperatures. However, the concert on the enclosed stage at the University of Music provided the full tour experience we remember so well from the past, with high temperatures exacerbated by us all standing so close together, resulting in sweat dripping into our eyes and onto the music, and running down our backs. Such is the lot of a touring musician!
The concert ended with the Cor cu Dor joining us again in stage to sing the Romanian song ‘Corborai din deal in vale’ together. The joint choir included singers covering an age span of 80 years, united by a love of singing. It was a good ending to a great concert!
This blog is being written on the coach to Brasov, Transylvania, for the second half of our tour. We look forward to posting about our experiences there.
Going on tour is one of the highlights of singing in Birmingham Festival Choral Society! In the past 30 years we have been to many places, the tours to Eastern European countries being particularly interesting and well received. We are really looking forward to keeping up this tradition when we visit Romania between 27th May and 2 June.
The choir and family supporters will stay 3 nights in the capital, Bucharest, followed by 3 nights in Brasov, Transylvania. Our plans include a flash mob in a bookshop, an informal sing in “Dracula’s Castle” (Bran Castle) and four main concerts.
Our programme will include well known choral classics, a selection of music by English composers, and some arrangements of folk songs from the British Isles. Kevin Gill will provide organ and piano accompaniment , and David Wynne will be the Music director. It is a special treat to have David’s wife, Alexandra, as our soprano soloist, and family support will be provided by their baby Sidney and his grandparents!
One of the more interesting aspects of touring abroad is meeting local people. In Bucharest we look forward to sharing a concert with the Youth Choir Cor cu Dor, and in Brasov we will visit the charity Asociata Nevazatorilov for the blind and visually impaired, to give them the money that was donated by Birmingham singers and supporters at our last concert. We look forward to learning more about the valuable work they do.
Finally, no tour would be complete without the informal concert party, at which singers show a full range of musical and comedy talents! Much fun is had on tour, and friendships made. We’re not known as the Big Friendly Choral Society for nothing!
Join us in the beautiful town of Warwick on 6th July for our summer concert, ‘The English Choral Tradition’. We will be singing in the magnificent church of St Mary, visible for miles around due to its tall tower. A church has a great history, having been on this site for 1000 years, and housing the splendid tombs of three Earls in its gothic Beauchamp Chapel. Our concert will take place in the 17th century nave, with its tall pillars creating a wonderful space for choral music.
Our concert comprises a beautiful selection of sacred and secular English choral music:
Elgar, Give Unto the Lord Elgar, Songs from the Bavarian Highlands Bairstow, Let All Mortal Flesh Keep Silence Stanford, Blue Bird Parry, Blest Pair of Sirens Tallis, O Lord, give thy Holy Spirit Tallis, If ye love me Purcell, Hear My Prayer Chilcott, Londonderry Air Chilcott, Irish Blessing
A selection of Folk Songs: Afton Water (arranged by Willcocks), The Oak and the Ash (arranged by Bairstow), The Turtle Dove (arr Vaughan Williams), Keel Row (arr Byrt), Ca’ The Yowes (arr Vaughan Williams)
Piano/organ: Kevin Gill Conductor: David Wynne
Click here for tickets to ‘The English Choral Tradition’.
Birmingham Festival Choral Society came together with Gemini Brass on 30th March to give a concert of glorious choral music. A full choir of 90 with brass ensemble and percussion performing grand works from royal occasions, such as ‘I was Glad’ (Parry), and ‘Coronation Te Deum’ (Walton), was a wonderful experience for both choir and audience.
Brass instruments aren’t just for loud music, however. This video clip shows Nigel Turner playing the beautiful trumpet solo in the third verse of ‘The Old Hundredth’, arranged by Vaughan Williams. It was recorded during our rehearsal by fellow trumpeter Mike Bates.
The clip above and the photo below show the choir singing ‘The Old Hundredth’ from memory. Although memory singing would not be possible in long, complex works, it is very liberating to do occasionally – and the conductor loves having all eyes watching him!
Brass and percussion are also an inspiring accompaniment for rhythmic choral works such as Rutter’s thrilling Gloria (which gave the title to the concert), and Vaughan Williams’ ‘O clap your hands’.
Contrast was provided in the concert by the beautiful melodic pieces of Will Todd and Jean Dattas. The sensitive piano and organ accompaniments were provided most ably, as always, by Kevin Gill.
The ‘Gloria’ concert included works by two composers with special links to BFCS. 2019 is the centenary of the birth of Jean Dattas, whose daughter, Sylvie, sings in BFCS and made us aware of his sacred choral compositions. Jean Dattas was a French organist, teacher and composer in Paris, then in London. It was good to have some English members of the family in the audience but, unfortunately, the French members of the Dattas family who were planning to get to the concert by Eurostar were prevented by problems both sides of the channel. We’re pleased that they were able to hear us perform Dattas’ Kyrie and Agnus Dei on tour in Burgundy three years ago.
We were also very pleased that some of John Joubert’s family were able to attend our concert to hear us perform his composition ‘O praise God in his holiness’ in his memory. John Joubert was Patron of BFCS for many years until his death in January of this year.
The dazzle of the brass instruments in the spot lights was nearly matched by the shiny gold shoes of our conductor, David Wynne!
We were delighted to have such a full audience for this concert, despite the clash with a lot of other concerts on the same evening. Their warm appreciation made all the hard work worthwhile. A great evening all round!
Many thanks to Alfred White for taking these excellent photos at the concert.
We hope that you are looking forward to our ‘Gloria’ concert on Saturday 30th March. Here are the programme notes about the feast of music awaiting you there:
Welcome to our concert. I trust that you weren’t expecting a quiet relaxing occasion: the title should give you a clue that this will be an evening of joyful celebration, and the presence of a brass band makes that even more obvious! Variety is the name of the game, with no fewer than six British (and one French) composers represented, and there are links with four coronation ceremonies and several other royal occasions. We may also note how composers often draw inspiration from the Bible, with settings of four psalms and another scripture passage on display.
By far the oldest text which we are performing is the “Old Hundredth”, an English version of Psalm 100 which first appeared in the Anglo-Genevan Psalter (1561). The words are attributed to a Scots clergyman, William Kethe, and the tune to a Frenchman, Louis Bourgeois. The arrangement which we are singing (which includes the instruction “all available trumpets” for the final verse!) was made by Ralph Vaughan Williams (1872-1958) for the coronation of Queen Elizabeth II in 1953.
Vaughan Williams had written a Te Deum for the coronation of George VI in 1937, and might well have hoped for a repeat performance in 1953. Instead, however, William Walton (1902-1983) was commissioned to write a new version, which is the one we are singing tonight. The words of the Te Deum, a translation of a fourth-century Latin hymn, describe how God is praised by many different groups. Here they are given a dramatic setting, full of antiphonal effects and making good use of the brass – as you would expect for the pomp of a coronation. It was first sung as the Queen left at the end of the ceremony. Although we are not singing Vaughan Williams’ setting, we are (in compensation?!) featuring his exuberant setting of Psalm 47, O clap your hands, written in 1920.
The anthem which has been sung at every coronation since 1902 is the spectacular I was glad, by Hubert Parry (1848-1918). As it happens, the tradition of singing Psalm 122 as the monarch enters Westminster Abbey dates all the way back to Charles I, the words having been set by a number of composers including Henry Purcell and William Boyce. At the 1902 coronation, Parry’s setting actually had to be sung twice, as the director of music misjudged the timing and finished it before King Edward VII had even arrived!
We are also featuring pieces by two composers with special links to BFCS. To mark the centenary of his birth, we will perform three pieces by Jean Dattas (1919-1975), former organist of Notre Dame in Paris, whose daughter is one of our sopranos. When we first sang the two movements from his Messe cum Jubilo in 2016, on our tour of Burgundy, they excited great interest: tonight we are adding a simple but effective setting of Ave Maria. And as a tribute to our patron John Joubert (1927-2019), who died two months ago, we are singing his exuberant setting of Psalm 150, O praise God in his holiness.
So to our youngest composer, Will Todd (born 1970), whose jazzy Mass in Blue we performed last July. The three pieces in this concert have a more traditional feel, albeit with several syncopated episodes. The Lord is my Shepherd, a setting of the well-known Psalm 23, is part of a Te Deum which was commissioned in 2009, and Stay with me, Lord was commissioned by the Sixteen in 2008, but then extensively rewritten for a 2012 performance by Tenebrae. The third piece, The Call of Wisdom, has a royal connection: it was composed for the Queen’s diamond jubilee, and first performed at St Paul’s Cathedral on 5 June 2012 in her presence. In the text, taken from the book of Proverbs, Wisdom calls on us to follow her, ignoring the lures of gold or silver.
The actual title of our concert derives from our final musical offering. John Rutter (born 1945) has recently composed pieces for two different royal occasions; however, his setting of the Gloria is an earlier work, dating from 1974. Rutter divides the text into three sections: the first is fast and full of verve, whereas Domine Deus is quiet and meditative, with some beautiful solos for the upper voices. The final section, Quoniam tu solus sanctus, starts at almost breakneck speed; it finishes with a repeat of the opening Gloria, a lively fugue (Cum sancto Spiritu), and a splendid Amen. It has been said that Rutter “writes music that people want to perform and to hear”. We have certainly enjoyed preparing this piece, and indeed the whole repertoire – so we hope you will enjoy listening to it all!
The friendly Birmingham choir singing the world's best choral music.