Valentine Singers

CONCERT REVIEW

2011-12-06T15:52:00.002Z

Valentine Singers

St Gabriel’s Church, Aldersbrook

Saturday 12 November 2011

Valentine Singers chose music from England and Austria at St Gabriel’s Church, Aldersbrook, presenting a varied programme of works by Britten, Bruckner and Tallis among others.

The concert opened with Charles Wood’s Oculi omnium, sung from the back of the church, and this was followed by Thomas Tallis’s Canon. While singing the Canon the choir processed to the front, using both sides of the church, resulting in a magical surround-sound effect for the audience. The first half of the concert continued with two wonderful performances of Bruckner motets, Ave Maria and Locus iste, which were full of expressive and well-controlled singing. Haydn’s Little Organ Mass closed the first half. This short Mass is a delight both to sing and listen to and the Valentine Singers did not disappoint. Special congratulations go to soprano Clare Gailans for her first class solo in the Benedictus.

Benjamin Britten’s Rejoice in the Lamb opened the second half – a rather eccentric work which the Singers performed with great skill, save a slight lack of incisiveness in the rhythmically complex second section. I am a big fan of Geoffrey Burgon’s works, but feel that his Nunc Dimittis needed a trumpet part in order to provide some contrast in sound and texture.

Frances, Emma and Peter Quintrell, Audrey Cassidy, Anthony Harrison and Andrew Taylor sang solo parts – all of them should feel proud of their contribution. The excellent David Sheppard was organist for the evening, and as usual the skills of conductor Christine Gwynn resulted in an enjoyable evening.

John Buckmaster

Rejoice! It's nearly Saturday

2011-11-10T00:43:00.004Z

Really looking forward to this!

Concert Review of Judas Maccabaeus

2011-04-09T11:31:00.003+01:00

This review was submitted to The Ilford Recorder but did not make the issue for W/E 10.04.11

As with most works by Handel, his oratorio Judas Maccabaeus oozes quality. The performance by Valentine Singers in the comfortable surroundings of St Gabriel's Church, Aldersbrook matched that quality from beginning to end.

Handel sets the scene with an overture and then continues to tell the audience the story of the second century B.C. Maccabean revolt through a series of recitatives, airs and choruses. Of the five fine soloists Jane Streeton and Paul Sheehan stood out with their assured delivery and unfailing quality.

The Jericho Ensemble was also excellent throughout.Wonderfully crisp and responsive, they laid a sure foundation for the soloists and chorus.

Valentine Singers is a fine choir - from their sensitive opening chorus to the joyous final Hallelujah, Amen (sung from memory) they displayed all that is good about choral singing, and their commitment and professionalism was evident right through this long, taxing oratorio. Conductor Christine Gwynn is not one to shirk a challenge - all credit to her for again bringing a major work to Redbridge, and with such style.

The next Valentine Singers concert - Music from Stage and Screen - takes place on Saturday 2nd July in Barnardos Church, Barkingside - pencil it in your diary!

John Buckmaster

Interesting concert

2011-02-21T14:52:00.002Z

Some news from Laura Pease of a concert which VS members might be intrested in

Thursday evening at St Martin in the Field
American choral music including both versions of 'O nata lux', Songs and Sonnets and 'Sure on This Shinng Night' amongst other short items by other US composers

Tickets still available at St Martins web site stmartin-in-the-field.org

Thanks Laura

Samuel (Sure on this shining night) Barber

2010-11-19T10:50:00.003Z

Not sure if anybody realised that 2010 is the centenary of Samuel Barbers birth. There is an interesting article about his life and music in today's Guardian (19th November) by the British pianist Leon McCawley
You can read it at http://www.guardian.co.uk/music/2010/nov/18/samuel-barber

Over the moon with singers’ night shift

2010-11-18T09:40:00.005Z

Valentine Singers were in nocturnal mood at Barnados Church on Saturday with a programme of music and words focused around the theme of night.

Nocturne included a cappella and accompanied vocal music, piano solos, and readings by members of the choir.

The varied items explored aspects of the night – its atmosphere, sounds and colours – as well as some of its more illicit activities, as in Kipling’s familiar poem, A Smuggler’s Song, expressively read by Pat Pretious.

Musical director Christine Gwynn drew well-controlled performances out of her singers, particularly with the lush harmonies of part songs by Elgar, Barnby and Sullivan, where tuning and blend were at their best.

A set of six vocal Nocturnes by Mozart showed off the choir’s potential for drama, charting the phases of a passionate love affair with plenty of vocal colour and dynamic range, as well as attention to the Italian diction, which was commendably clear. This was also notable in the choir’s delightful rendering of Vecchi’s Fa una canzona, which opened the concert.

Among the readings, I particularly enjoyed The Night Mail, W. H. Auden’s word-picture of the mail train’s journey with its precious cargo of letters. (Hard to imagine anyone writing a similar poem about The E-Mail!)

Soprano Clare Gailans and pianist Tim Smith gave a spacious and compelling performance of Britten’s Nocturne from On this Island.

And, for me, the Highlight of a pleasing evening’s entertainment was Smith’s eloquent account of Debussy’s Clair de Lune. It transported me from a hard pew and a damp chilly Ilford into the ravishing French moonlight.

MANDY BENTLEY - ILFORD RECORDER

Reviews of other concerts can be seen here www.valentinesingers.org/rev.html

2010-11-07T16:40:00.002Z

The first outing of our promotional banner

on the grass area outside Barnardos Church

NOCTURNE

2010-10-25T00:10:00.000+01:00

NOCTURNE

with Valentine Singers and friends
Conductor: Christine Gwynn

Piano: Tim Smith

Saturday 13^th November 7.30pm

The Barnardos Church, Tanners Lane, Barkingside IG6 1QG

An evening of words and music of the night - nocturnes, lullabies, serenades and more - featuring music by Mozart, Chopin, Sullivan, Gershwin and Debussy and poetry by Shakespeare, Kipling and Auden

www.valentinesingers.org
Box office: 020 8501 0695

Full details on poster or via the choir’s website

News from ENO Baylis

2010-09-01T16:03:00.007+01:00

The next ENO Baylis 'Know the Show' event is due to take place next January, although a date has not yet been fixed.
To get an idea of the flavour of these events there are pictures at http://www.flickr.com/photos/eno-baylis/sets/72157624811202206/ and videos at http://www.youtube.com/englishnationalopera of the recent event in August. Click on the 'Know the Show August 2010' icon to see videos of the opera choruses we rehearsed and of the parallel events for children.
The choruses were from Gounod Faust, Handel Radamisto and Coronation Anthems , Puccini La Boheme and Madame Butterfly, and Mozart Don Giovanni. We were led by Richard Frostick (free-lance music animateur) and Martin Fitzpatrick (ENO head of music) with Ben Frost at the piano.
The ENO is about to introduce two schemes that will allow adults to attend specific opera performances whilst their children/grandchildren etc. are otherwise entertained. 'Opera Tots' is for pre-school children aged 6 months to 4 years in a professional cheche, and 'Opera Stars' is a fun introduction to opera for those aged 7 to 12.
There was also some talk of a 'Community Choir' being set up by ENO Baylis.

You can find information about all the ENO's participatory events at http://www.eno.org/explore.

To Don!

2010-07-27T01:15:00.002+01:00

Party Pieces may never be the same again....but there gain, Don will only be 80 once! It was our very special pleasure and honour to share our end of term bash with our esteemed President - and dear Doreen, of course - on his four-score birthday. Here is Vince's memorable tribute - sung to the tune of Schubert's setting of Shalespeare's To Sylvia ;-)

An Don (To Don)
Upon his eightieth birthday !

Happy greetings,
Don, dear maestro,
on this your four-score birthday.
Wholly loved,
and praised indeed,
for wisdom and great kindness.
Friend to all,
undoubtedly,
You’re our great celebrity !

Nineteen thirty.
Birthplace: Hoxton.
From there you have ascended.
Ivor Evans
made no mistake,
in giving you your first break !
Ever since,
from time to time,
you have reached such heights sublime !

Don, we thank you,
double forte,
and gladly sing your praises.
Valentine Singers,
is safe in care
of you, its founder member.
And we declare –
assuredly -
that you must our president be !

ENO Baylis 'Know the Show'

2010-07-24T14:51:00.002+01:00

In most seasons the ENO Baylis programme runs a 'Know the Show' event, for adult non-professional singers, providing an opportunity to work with members of the ENO music staff and learn music from the ENO's repertoire.
For the Autum 2010 season a 2-day event is taking place at Cecil Sharp House (just North of Regents Park) on Thursday 26th and Friday 27th August, 10am to 4.15pm.
Participants can book for one or both days, and the repertoire (sung in English with music provided) is:
Thursday 26th Faust & Radamisto
Friday 27th La boheme & Don Giovanni
There is a parallel event for children aged 7 to 12.
I have taken part in several 'Know the Show' events, and can thoroughly recommend them; the music staff are brilliant, and usually members of the ENO chorus are present to sing with the sections.
Full details are on the ENO website at
http://www.eno.org/see-whats-on/productions/production-page.php?&itemid=914
Tickets can only be booked at the Box Office or by phone.

Mozart fest & feast

2010-07-21T01:36:00.004+01:00

Here are some of the comments that have been sent in since Saturday's Mozart Evening:

From the audience
"Passionate singing"
"We want to thank you for a wonderful concert this evening. The choir gave us a lovely performance under your baton, and you got the very best from the soloists and the orchestra. Tim's majestic playing of the Piano concerto was thrilling."

From members of the professional orchestra
"fab concert"
"I thought it went really well on the night - the choir did a great performance!"
"A real pleasure to work with you "
"It was a lovely concert. Choir and soloists good too. Nice to work with you again"

From members of the choir
"Thanks again for a wonderful experience yesterday evening, I thoroughly enjoyed being part of it."
"Thanks to you for a great experience on Saturday....the concerto was sparkling"

Mozart Vespers K339

2010-06-03T08:57:00.002+01:00

Can anyone shed light on the given title to this work - 'Vesperae solennes de confessore'
Its the 'confessore' bit that puzzles me. My basic Latin tells me this is one word for priest and I fully understand that up until the time of Mozart and Pope Benedict 14th, Vespers would have been sung exclusively by those ordained. So, in the light of the relaxation by Benedict and Archbishop Colloredo of Vienna, to allow secularisation of some religious music, would Mozart ascribe this work as being that of 'a priest'?
I've not been able to track this down in any reference book, but perhaps there's someone out there that does know??
As for the rest of the Latin text - I can manage to follow most of Psalms 110-113 and part 117, and of course the Magnificat - but if anyone does have a definitive translation it might be helpful to further understand the text we're singing.

Times review of Valentine Singers in Mahler 2

2010-05-12T13:03:00.001+01:00

Here is the Times review of our performance of Mahler 2 and the Festival Hall on Sunday

At the Royal Festival Hall

2010-05-03T18:14:00.000+01:00

Valentine Singers at the Royal Festival Hall

2010-05-03T16:21:00.002+01:00

Valentine Singers made their debut performance in the Clore Ballroom of the Royal Festival Hall on Sunday 2nd May, performing a mixture of a cappella pieces plus Shearing's Songs and Sonnets accompanied by Tim Smith (piano) and Paul Bartels (bass).

VS in Notre Dame de brebieres, Albert

2010-04-24T21:22:00.002+01:00

This photo has arrived from two enthusiastic audience members who had travelled from Bath (though possibly not just to see us)

Royal Festival Hall 2nd May

2010-04-22T09:03:00.003+01:00

This is a version of the Royal Festival Hall page with details of the choirs singing at the RFH on 2nd May. It is a .jpg file and should be copyable and enlargeable.
See http://www.southbankcentre.co.uk/find/festivals-series/chorus for original, as mentioned in Christine's e-mail.

Radiohead article

2010-04-22T01:02:00.003+01:00

Here is the article re the Radio 3 charts that Martin mentions below

Shock-horror; charts on Radio 3!

2010-04-15T09:03:00.003+01:00

Radio 3 has started broadcasting a 'pure' classical music top ten, based on releases made over the last 2 years, in a couple of it's programmes. Of interest to us is that Mahler's symphony no. 2 is currently at number 10, and Rob Cowan remarked "But there is something very special at number 10. If you want to hear music that has the power to transform lives, then listen to this".
To see an article by Elizabeth Mahoney search for 'Radio head' on www.guardian.co.uk, with date of 14th April.

Valentine Singers tour to Amiens

2010-03-12T15:41:00.005Z

Find the details of the Tour Concerts on our website

Songs & Sonnets review

2010-03-11T22:35:00.004Z

From Redbridge Recorder 11.3.10

Delightful songs and sonnets

THE VALENTINE Singers, under their conductor Christine Gwynn, gave a delightful programme of Songs and Sonnets on Saturday at Barnardo's Church, Barkingside.

The packed audience was promised music and poetry "from robust drinking chorus to tender love Iyric, from spoken words to songs without words".

The performance of the opening Tourdion, a popular dance from 1530 by Pierre Attaingnant, set feet tapping with its colourful drone effects, lively rhythms and fine blend of voices.

Central to this half of the programme were two sets of pieces by Mendelssohn.

Five of his Chorlieder were sung, with the men of the choir in particular sounding full, rich and exciting.

It was unusual and interesting to have the translations of the poetry involved spoken before the actual performances.

Tim Smith, the choir's expert accompanist, played several of the songs without words with his customary technical brilliance and fine musicianship.

The second half of the evening opened with a splendid and novel arrangement of Schubert's To Sylvia, followed by a most enjoyable Sweet Tea by Charles Beale.

We were then treated to Songs and Sonnets from Shakespeare, a series of pieces for choir, jazz piano and bass, composed by the legendary blind jazz pianist, George Shearing.

This mix of witty and tender music, with its fresh and youthful sound, is a homage to two remarkable Englishmen, and it became very evident just how much the Valentine Singers enjoyed these part songs.

Bass player Paul Bartels joined pianist Tim Smith.

During the evening, there were many contributions from within the choir providing narration and readings, although the acoustics made difficulty for some members of the audience to hear clearly.

Tim Smith performed the famous Listz Liebestraum early on in the programme, and later, two of the Gershwin song transcriptions for piano were superbly played.

Christine Gwynn expertly guided this excellent choir throughout.

- MICHAEL CROMBIE

Electric Upright Bass

2010-03-10T12:40:00.002Z

Many people asked about Paul's amazing bass on Saturday. Find out more here!

2010-02-16T15:10:00.002Z

Gustav Mahler

Second Symphony - "Resurrection"

For those not familiar with this mammoth work, here are some notes which give an insight to the work and the composer's thoughts behind it. I hope they are of interest to you

The first four symphonies of Gustav Mahler are extremely personal documents in which he speaks about his relations with the human and natural world around him, his God and his ultimate spiritual happiness. As a result they seem to grow from one another psychologically and spiritually, rather than stylistically or technically.

In the creative process words were very important to Mahler. "When I conceive a great musical organism I invariably arrrive at a point where I feel compelled to call on the help of words as a carrier of my musical idea." he once said. In the First Symphony he found inspiration in his own verses for his song cycle "The Songs of a Wayfarer". Four years later he discovered the collection of traditional verses called "Das Knaben Wunderhorn" (Youth's magic Horn) which were remarkably similar in atmosphere and language to his own poetry. This became the basis for his "Wunderhorn" songs and his 2nd, 3rd and 4th symphonies, all of which employ the human voice and have as focal points, texts from "Wunderhorn".

The Second Symphony written between 1887 and 1894 uses in addition Friederich Klopstock's hymn "Auferstehung" (Resurrection). There are five movements, the first three purely instrumental. The fourth features a contralto soloist who reappears in the final movement along with a soprano soloist and a four part mixed choir. Mahler himself conducted the first performance of the complete work, in Berlin, on December 13th 1895.

Much is known about the work from Mahler's own letters and 'programme' notes. His 'programme' notes and titles for each movement of all his first three symphonies were later removed by himself to allow everyone to approach the works without preconceived ideas of the content of each work. The 'programmes' were only abstract notions of the ideas from which the music sprang. However audiences who had seen them insisted on regarding them as detailed programmes similar to those being worked on at the time by Richard Strauss. What was worse was that musical critics saw them as indicative of Mahler being unable to compose music which could stand on its own.

The work as a whole grows from the First Symphony as Mahler points out in his letters : "I have called the first movement 'Funeral Rites' . . . , it is the hero of my Symphony in D major that I am lowering into his grave." Other comments on individual movements are quoted as follows :-

FIRST MOVEMENT

"We are standing beside the coffin of one dearly loved. For the last time his battles, his sufferings and his purpose pass through the mind. . . . . Released from the insignificant distractions of ordinary life our hearts are seized by an awesomely solemn voice. What next? it says. What is life and what is death? Do we have any continuous existence? Is it all a hollow dream, or does our life , now and after death, have meaning? If we are to continue living we must answer this question." ("I give this answer in the last movement.") The sense of conflict is reflected musically in the violent contrast of the main theme - an extended funeral march - and a lyrical second subject and in their tonalities (C minor/E major). In the development of the march a reference to the plainsong "Dies irae" emerges, looking forward to the march within the finale.

SECOND MOVEMENT

"Remembering the past. A moment of bliss from the dead hero's life. A mournful memory of youthfulness and lost innocence". The movement seems to look back musically to the minuet of the classical symphony. The gracious Landler waltz theme has a decidedly Schubertian flavour.

THIRD MOVEMENT

"The spirit of disbelief and denial has taken possession of the hero. Looking at the turmoil of life's superficiality he loses the clear vision of childhood and the firm footing which only Love gives. He despairs of himself and God." "Life appears senseless. . .and like a dreadful nightmare." " Disgust strikes him and drives him into an outburst of despair." For this scherzo Mahler uses the theme of his song from "Das Knaben Wunderhorn" which describes St. Anthony of Padua's sermon to the fishes. The irony of that situation in which the saint vainly tries to convert the fish - to stop pike stealing and carp gorging - has obvious application to the human condition.

FOURTH MOVEMENT

"The stirring voice of the simple faith sounds in our ears - 'I am of God and will return to God'. " The contralto's words are from the same 'Urlicht' (Primal Light) poem also from "Das Knaben Wunderhorn".

FIFTH MOVEMENT

"We are faced again with terrible questions. A voice is heard crying aloud. The end of all life has come . . . the Day of Judgement has come . . the earth trembles, the graves open, the dead rise and march, the great and the humble. . .the trumpet sounds. . . in the silence a nightingale sings like the last echo of life on earth. . .a choir of saints sings "Thou shalt arise". And behold there is no judgement - there are no sinners, no righteous, no great, no humble. An overwhelming Love shines. We know and are." For the song of the saints Mahler extends Auferstehung with words of his own. In the final march he uses the "Dies irae" which was hinted in the first movement. It is complete.

Compiled from :-

1) Programme notes of a 1965 performance by The Concertgebouw Orchestra, Amsterdam with The Netherland's Radio Choir conducted by Bernard Haitinck

2) "Gustav Mahler" Vol." - Donald Mitchell

Translations of the poems quoted :-

PRIMAL LIGHT

O little red rose!

Man is in the deepest misery!

Man is in the deepest suffering!

Ah, how I wish I were in heaven"

I was climbing a wide path

When an angel came and tried to turn me away,

No, I will not be turned away:

I came from God and will return to God!

God is good and will give me his light;

He will light my way to eternal life!.

RESURRECTION

You shall come back to life, yes, you shall come back to life,

My body after a short rest!

Eternal life

Will be given to you by Him who called you back.

To be reborn you were sown.

The Reaper approaches

And gathers the sheaves

Of us who are dead

Believe my heart believe :

You have lost nothing.

You will receive everything you have hoped for,

Everything you have loved and striven for.

Believe this:

You were not born in vain!

You have not lived and suffered in vain!

Everything that lives must die!

And everything that dies will be reborn!

Fear no longer!

Prepare yourself to live!

O suffering, all powerful suffering!

Now I have escaped you!

O death forever victorious!

Now you are conquered!

With the wings I won,

In the ardour of Love

Shall I fly

To the light no eye has seen!

I die to live!

You shall come back to life, yes,

My heart, you shall come back to life!

The pain you have endured

Will bear you to God

(Translations by Robert Cushman)

An interesting correction from Laura

2010-02-13T15:07:00.002Z

Valentine Singers are performing Shearer's Songs and Sonnets on 6th March, but did you know....

Great composer though Shearer might be, his knowledge of Shakespeare leaves something to be desired!

The first song in ‘songs and sonnets’ isn’t by the Bard at all; it’s a hybrid of two poems. The first part (up to bar 60) is most of ‘The passionate shepherd to his love’ by Christopher Marlowe. Marlowe was a poet and playwright who was a contemporary of Shakespeare and might have rivalled him had he not got himself killed in a tavern brawl following a disagreement over who was to pay for the drinks.

Walter Raleigh (the chap who put his coat over a puddle for Queen Elizabeth) wrote a reply to Marlowe’s idealised picture of rural life. In Raleigh’s poem the maid basically tells the shepherd to push off; she doesn’t think much of his presents as most of them will fade and decay and she’s not sure you can trust shepherds anyway! The first verse of this poem gave Shearer the end of our song. So in order to be true to the spirit of the original the choir (or the ladies at least) should sing from bar 61 with eyebrows raised and a kind of ‘am I bovvered’ expression to show what the maid really thought of the shepherd’s offer….

I also looked up a couple of the odd words in the songs which really are by Shakespeare:

Pugging tooth – doesn’t seem to mean anything at all, at least all the sources I checked said it was unclear but probably rude!
Tosspot, on the other hand, wasn’t obscene in Shakespeare’s day – it just meant ‘drunkard’, i.e. man who tosses back his tankard to get some more in
Aunts could be a general term for women of a certain age – so the chap need not have been rolling in the hay with his Mum’s sister but making free with a selection of the village women

Pat's presentation

2010-01-16T12:45:00.002Z

Sean O'Byrne kindly gave me a copy of this photo.

Pat was presented with the bouquet at our autumn concert after she announced her retirement from the choir after many many years.

'Bethlehem Down' Concert - St Paul's, Goodmayes

2009-12-13T07:51:00.003Z

Immediately after the concert had finished I was approached by two members of the audience, neither of whom I knew.

The first commented

' It was refreshing to hear choral music delivered with exact and clear diction. I could hear every word being sung'

The second

' A meticulous delivery of some difficult music with an overall atmosphere of joy in being able to sing'

We should be proud of such comments, which is why I have lost no time in posting them...

there must be others out there to share with us...

'Thames Link' Concert Review

2009-12-01T12:45:00.005Z

My thanks to Madeline for forwarding the review which should have appeared in The Ilford Recorder last week, but failed to materialise for reasons unknown...........

thanks also for the positive and helpful comments on our music making

"The Valentine Singers, conducted by Christine Gwynne, presented an imaginative programme inspired by the River Thames at their concert at St. John’s Church, Buckhurst Hill, on Saturday.

‘Thames Link’ included works by composers connected with towns along the river from Oxford (Parry), through Reading (Finzi) to London, passing through Windsor Forest with Vaughan Williams, and Westminster with one of Handel’s Coronation Anthems. In between the choral items were readings – two extracts from Jerome K. Jerome’s humorous classic Three Men in a Boat, and a piece by Virginia Woolf.

It was ambitious to begin with unaccompanied works, but the Singers rose to the challenge. They were joined by Tim Smith at the piano for Vaughan Williams’ In Windsor Forest, producing some lively singing and a fine solo from Clare Gailans.

Handel’s My Heart is Inditing was accompanied by organ, oboe, trumpet and timpani. This created a problem. The organ is in the right transept; instrumentalists were in the left transept and there was a time-lag between the two. The choir, in the middle, sounded understandably a little unsure until everyone became accustomed to the acoustic. The moral of the story? Watch and follow the conductor, which is easier said than done!

Bob Chilcott’s Songs and Cries of London Town, brought the evening to a rousing conclusion and showed the Singers at their best. Jazzy rhythms in the outer movements were performed with panache, helped by a superb contribution from percussion and piano duet, and there was some lyrical singing in the slower movements. A most enjoyable performance. "

Madeline Seviour

'Bethlehem Down'

2009-11-27T12:08:00.004Z

Having played our CD more than once now I consider that we can rightfully be proud of a fine quality product. Thanks to all involved but particularly to the part played by the sound engineers from Whipps Cross Hospital Radio - a superb job.

What we need to do now is to sell it to our friends, relatives and colleagues and to emphasise that many of the tracks can be heard live at our concert on Sat 12th at St. Paul's, Goodmayes.

Our CD has been sent to Classic FM radio and may well feature in their 'Full Works' programmes over the Christmas period - so watch out for more news.

Messiah at the Coliseum

2009-11-25T16:01:00.003Z

I've just returned from the Dress rehearsal of English National Opera's staged Messiah at the London Coliseum, and can't really recommend it enough. If you are looking for a performance this is the one to choose I feel.
It's a staged performance, which means that there are actors, dancers and children as well as a 'community ensemble', and the chorus move around, but it is all very restrained and sympathetic to Jennen's libretto and Handel's music. The production, by Deborah Warner, enhances the narrative so that it seems to make more than usual sense. There is one gem of a scene in part one where a typical primary school nativity play is acted out in front of parents (the chorus) whilst a boy treble sings the 'There were shepherds abiding in the fields....' sequence. The crucifixion story in part two is most movingly portrayed
The music is directed by Laurence Cummings from the harpsicord and is fully up to the standards of the ENO. The solo quartet are of a high standard (not many Messiah soloists are expected to move and act whilst singing) and the chorus are superb, singing with tremendous clarity and expression.
For a different and meaningful take on Messiah, this is the one to watch.

Thames Link

2009-11-12T18:15:00.002Z

Our concert this Saturday has the making of being something special so please encourage as many of your friends and relatives to come along and hear two relatively unknown works :-

Bob Chilcott's 'Songs and Cries of London Town' and
Vaughan Williams 'In Windsor Forest'

Mahler Symphony No 2 in C minor 'Resurrection'

2009-11-12T09:58:00.004Z

As the Valentine Singers have the opportunity to take part in a performance of the this work next May, you may be interested to know that there is a performance in the Barbican at 3pm on Sunday 13th December, with
Royal Concertgebouw Orchestra of Amsterdam
Mariss Jansons conductor
London Symphony Chorus

Unfortunately that is the day of the Writtle Singers Christmas concerts, to which we shall all, no doubt, be going.

For further details see http://www.barbican.org.uk/music/event-detail.asp?ID=8554

Amiens

2009-10-04T23:01:00.002+01:00

Allons! Valentine Singers go to Amiens in spring 2010. Staying and singing in Amiens, we shall also explore some other parts of the Somme area and we are very pleased to be giving a performance in the beautiful Eglise Notre Dame de Brébières in Albert.

My Soul there is a country....

2009-09-24T14:58:00.003+01:00

Driving home on Wednesday evening (23rd September) with Radio 3 on the car radio I thought "I know that" - it was Parry My soul there is a country, being sung as the introit to choral evensong from Chelmsford Cathedral. So if you want to practice or sing-a-long it will be available on the BBC iplayer for the next 7 days at http://www.bbc.co.uk/iplayer/episode/b00mrxzn/Choral_Evensong_23_09_2009/. It's also repeated on Sunday at 4pm on Radio 3. I have since learnt that two members of the Writtle Singers were singing in the service.

The concluding organ voluntary was also a piece by Parry - the March from The Birds of Aristophanes, Parry wrote this bridal march in 1883 as part of his incidental music to Aristophanes' play The Birds for a performance in Cambridge. It was scored for saxophone octet. This organ version was arranged by Sir Walter Alcock (1861 - 1947) who was organist at Chichester Cathedral from 1916 until his death, and had the unique distinction of playing the organ at Westminster Abbery for three coronations - Edward VII, George V and George VI.

This is how you can get involved with this Blog

2009-09-22T09:24:00.000+01:00

Check the Blog
Firstly check the blog from time to time. I am afraid that you will not always be informed of new entries. www.valentinesingers.org and select View Blog

Make a comment
You can make a comment about an existing entry. You will have to sign up to Blogger for this. If you try to make an entry this will automatically help you through the simple sign-up process.

Contribute
If you wish to contribute to the Blog by uploading an article, pictures etc. you need to become an author. Please let me know if you would like to do this and I will grant you permission (that sounds very powerful doesn’t it!) Once you have permission it is straightforward to contribute articles.

Monitor
Someone has to be the arbiter of good taste and practice and at the moment that is me too (even more powerful…I like this game!) So if you don’t like what you read please let me know.

Take control
Finally I have set up the Blog for everyone to use. If anyone would like to take it on as their particular project PLEASE let me know!

The Thomas John Barnardo thanksgiving service

2009-09-21T09:02:00.007+01:00

Valentine Singers were very please to provide the vocal music for the Barnardo’s thanksgiving service that was held on 15 September 2009 in the church at the traditional home of Barnardo’s in Barkingside.

Despite heavy rain!! there was a fine representation from the choir to sing Pitoni: Cantate Domino and Schubert: Sanctus from the Deutsche Messe, and support the singing of the hymns.

A little of the history of the site and the church

Barnardo and his wife, Syrie, were given a home in Barkingside, Essex, as a wedding gift, where he created a 60-acre village with the vision of creating a way of life for destitute children that resembled village life. In 1876 on the 9th July, The Girls Village Home was officially opened with 12 cottages by the then Lord Cairns. In the same year a modern steam laundry was opened. Over the years the number of cottages grew to a total of 66 in 1906 housing some 1,300 girls which was spread over the three Village greens covering some 60 acres which was next to Mossford Lodge at Barkingside, Ilford, Essex that had been opened in 1873; by 1894 a multi-denominational Children's Church was opened with a dedication service.

Inditing indeed!

2009-09-21T00:09:00.002+01:00

The effort to understand the psalmist who uttered "My heart is inditing" has begun to excite a number of choir members. I thought you might like to see these splendid and rather erudite offerings...

From Barbara F "I was sure I knew the word 'indite' from when I studied the Canterbury Tales for A level. There's a character in the prologue who could not only compose tunes ' and eke indite' (and also write the words.)
Sure enough it's in the OED. To indite means 'to put into words' or 'to compose' (e.g. a speech, a poem etc.)"

And from Laura P "According to the OED online, the verb to indite comes from Middle English endyte which means to tell (a story) or compose (a story or a song) - Chaucer uses it for this purpose in the Canterbury Tales.

Bibles in English use endyte or indite up to the King James version from which Handel got his text. However, the Latin text uses eructare - to vomit (!) - and the Hebrew translates as 'bubble up' - hence modern translations say things like 'my heart overflows'.

I'm not sure why they are so different, presumably Biblical scholarship develops over time and the newer translations will be more accurate. But anyway Handel's version means 'my heart is telling a tale about a good subject'. The word would have been fairly archaic by 1702 but maybe that would have added to the solemnity of the occasion.

Barbara has kindly clarified some other mysteries, too:

"Thornbacks are edible fish from the ray family ( a bit like skate but more spiny).

Peascods are pea-pods - i.e. peas in their shells.

Nard is an aromatic balsam of the ancients - also known as spikenard. It comes in the story of Jesus being anointed for his burial in Bethany John's Gospel chapter 12 verse 3. (also Mark 14.3 & Matthew26.7)"

I hope you're all feeling much better informed now. :-) Many thanks to Barbara and Laura

Valentine Singers Blog!

2009-07-28T08:59:00.000+01:00

Welcome tothe new Blog for Valentine Singers