The new Season for Isle of Wight Cantata Choir opens with an exciting concert at Medina Theatre at 7:30pm on Saturday 5th October 2019.
Handel’s Four Coronation Anthems and Haydn’s Mass ‘in time of war’ are featured. Local musician, Clive Malabar has composed a piece for the choir – a setting of lovely lyrics ‘Silent Stars’. The performance will be accompanied by many local orchestral players.
The famous ‘Zadok the Priest’ is one of the Four Coronation Anthems, often sung at Coronations and other state occasions. It is a rousing chorus with an impressive introduction from the orchestra; it really builds the drama to the first choral entry which explodes onto the senses.
Working with a living composer is a great privilege and we are delighted that Clive Malabar will be in the audience to hear the first performance of ‘Silent Stars’.
The concert concludes with Haydn’s Mass ‘in time of war’. It is an impressive piece with contrasting movements, both in tempo and dynamics, and we are joined by 4 soloists, many of whom have sung with the choir previously and we welcome them back to the Island.
Don’t miss our next concert – a collection of Christmas Carols and seasonal pieces on Sunday 8th December 2019 at 3:00pm at Ryde Methodist Church, 14 Garfield Road, Ryde PO33 2PT.
H.B.
Post Concert Message:
THANK YOU, to everyone who made this evening’s concert a success:
To Rachel Tweddle our inspirational and utterly awesome Musical Director… To Richard Wilkins our patient and versatile Rehearsal Accompanist… To our fabulously talented Professional Soloists: Jessica Broad, Kate Warshaw, Edward Ross and David Le Prevost… To the wonderful Handel, Haydn and Malabar… To the superb Musicians of the Isle of Wight Symphony Orchestra… To our dedicated and ever-cheerful Committee team… To our amazing support crew of Helpers, Fixers and Suppliers… To our generous Audience, Contributors, Patrons and Friends… And not least – To our amazing, steadfast and enthusiastic Choir members.
Concert Review:
The Medina Theatre was sadly only half full on Saturday October 5th for an enterprising and successful concert by the Cantata Choir, under their Musical Director Rachel Tweddle, in which the 18th Century met the 21st.
A spirited rendition of Handel’s ‘Zadok the Priest’ made an ideal opener, followed by the other anthems he wrote for the Coronation of George II.
In these, and in Haydn’s ‘Mass in Time of War’, which filled the second half of the concert, the choir sang with confidence, though at times they were rather overpowered by the orchestra.
There were many memorable moments, aided by well-blended singing from the quartet of soloists, with notable solos from soprano Jessica Broad and bass David le Prevost, and in the Handel bright, soaring lines from lead trumpeter Gareth Balch.
The Haydn Mass, as its title suggests, provides dramatic contrasts between martial trumpets and drums and more lyrical passages, and the dance-like conclusion brought the concert to a very satisfying end.
However, the highlight of the evening was undoubtedly the first performance of island composer Clive Malabar’s ‘Silent Stars’, specially commissioned by the choir. Inspired by a verse from Psalm 19, ‘The heavens declare the glory of the Lord, the skies proclaim the works of His hands’, the piece evokes the experience of looking up to the majesty of a clear night sky, with a message of praise, purpose and hope. The choir clearly enjoyed singing this attractive piece, there were many lovely details in the orchestration, and the audience responded with appropriate enthusiasm.
After the considerable successes of Verdi’s Requiem and Karl Jenkins’ The Armed Man, how were Isle of Wight Cantata Choir going to top that? Their Concert at All Saints’ Church, Ryde on Saturday 23rd March was a real feast of choral classics. Lots to enjoy and a real triumph of performance of some ‘crowd-pleasers’.
The programme started with a beautiful rendition of Ralph Vaughan Williams’ Five Mystical Songs for Baritone and Choir, ably accompanied by Richard Wilkinson on the pianoforte. The first movement, Rise Heart set the tone for the evening ahead. There was some very sensitive singing from Alistair Nye with excellent range of dynamics, underpinned by choral accompaniment. One of my favourite movements ‘The Call’ was delivered as if one could hear a pin drop in church. The choir came to the fore in the final movement with a rousing chorus of Let All the World in Every Corner Sing. We enjoyed the complex Hubert Parry work, Blest Pair of Sirens. Sometimes in 8 parts with plenty of polyphony, it can be a challenge for many choirs. Rachel ably navigated Cantata through the complex strands of musical themes and counter themes. The organ part certainly made us sit up and take notice.
After the interval, a true crowd-pleaser in Handel’s Zadok the Priest. Although very familiar to many, it was delivered with a freshness and true commitment to the music and lyrics. A very rousing start to the second half.
There were two excerpts from Haydn’s Creation next interspersed with Mons Leidvin Takle’s The Power of Life Organ Solo. A stunningly exciting work very well delivered by Andrew Cooper.
Achieved is the Glorious Work and The Heavens are Telling were sung with a good dynamic range from the choir with plenty of attack, where required. Good diction and commitment to the homophony.
We were then treated to Handel’s Hallelujah Chorus sung completely from memory. What a difference it was to be able to see the choir’s faces and notice the true enjoyment of the achievement when the final chord was delivered! The soaring phrases of the sopranos were stratospheric. Going higher even when it didn’t seem possible to do so! Each part matched one another for dynamics and commitment to the text. Good leads from everyone. Stunning!
A further more reflective organ solo from Mons Leidvin Takle was enjoyed – Flute of Grace
..and then, one of my personal favourites to round off this excellent concert: Parry’s I Was Glad. Diction was marvellous and the overall sound of the choir blended really well and matched the organ underpinning the choral parts. The quieter section was sung sensitively before the climb to the top B flats from the sopranos finished off the work.
All sections of the choir sang with great conviction and commitment. It was clear to all who attended how much Cantata enjoyed the programme chosen by Rachel Tweddle and what an excellent venue for the Choir (who usually perform at Medina’s Theatre).
Cantata’s next concert is on 6th October 2019 and will be Four Coronation Anthems by Handel and Haydn’s Mass in the Time of War at Medina Theatre at 7:30pm.
Isle of Wight Cantata Choir, conductor Rachel Tweddle Saturday, 24th November 2018 at the Medina Theatre
Isle of Wight Cantata Choir gave a solemn and thought-provoking concert at the Medina Theatre on Saturday, conducted by Rachel Tweddle. Taking place shortly after the centenary of the end of World War I, symbolism abounded.
First came Edward Elgar’s “Nimrod”. The orchestra took us from the pianissimo strings-only opening to the fortissimo climax with careful dynamic control.
“Remember Me” by Bob Chilcott, a simple but poignant setting of Christina Rossetti’s poem, was executed tastefully by the choir, elegantly accompanied by Richard Wilkins on the piano.
Next a recollection and recital of the renowned World War I poem, “In Flanders’ Fields”, was delivered by Jim Miller with dignity and sensitivity.
Karl Jenkins’ setting of Laurence Binyon’s poem “For the Fallen” gave a foretaste of the composer’s eclectic style, including the Last Post incorporated in the score.
The evening’s main piece, Jenkins’ “The Armed Man”, is a Mass for Peace. The composer draws inspiration from a wide range of musical forms, from Christian Gregorian Chant to the Muslim Call to prayer.
The orchestration, featuring extensive use of percussion and brass, supported the choir well, taking us symbolically through the preparation, execution and resolution of war; though occasionally balance was compromised in favour of the theatricality of the piece.
Two solos, by Wendy Webb and Heather Bentley, were performed well and effectively.
It’s a challenge for any choir to sustain the emotional range and intensity demanded by this work. Cantata Choir rose to the challenge well, with barely a hesitation.
Music teacher, cellist and singer, Rosemary Joy Woodhouse, has died, aged 91, on 5th May 2018. Born in Harrow, Middlesex on July 11, 1926 she attended the Royal College of Music studying singing, piano and cello, gaining an ARCM in singing performance and a GRSM as a teaching diploma. After three years teaching music at Uplands School, Dorset, she was appointed as the first IW County Music organiser. At County Hall, she met Eric Woodhouse, they married in 1952, and had two children.
She returned to teaching music at Bembridge CE Primary School, and later moved to Forelands Middle School as part-time head of music. On retiring in 1986, she co-ran the Music Centre’s junior string orchestra and became choir-mistress and part-time church organist at her church. Rosemary played cello with the Dunford String Orchestra and Ryde Philharmonic, sang soprano with the Cantata Choir and joined the IW Symphony Orchestra when it was formed. She continued to play cello with the orchestra, enjoying the range and variety of music, until her death.
(obituary credit: Imogen Tew, Isle of Wight County Press)
Isle of Wight Cantata Choir are extremely grateful for the generous bequest which Rosemary bestowed on the choir.
AN EXCITING AND SPIRITED PERFORMANCE OF VERDI’S REQUIEM
Medina Theatre saw some splendid music-making on Saturday 14th April when the Isle of WightCantata Choir performed Verdi’s Requiem with a 50 strong orchestra and 4 young professional soloists under the confident baton of Rachel Tweddle.
All musical forces tackled this theatrical work with great commitment and integrity.
One could ‘hear a pin drop’ in the opening Requiem Aeterna. The choir provided confident unaccompanied singing at Te decet hymnus. Samantha Crawford (Soprano), Kasia Balejko (Mezzo Soprano), Ben Thapa (Tenor) and David Ireland (Bass) joined at the Kyrie with soaring phrases and contrasting dynamics.
The gripping and terrifying Dies Irae theme opened with doom-laden thunderclaps provided by the bass drum, followed by the choir in full voice. The Tuba Mirum section was heralded by effective on and off-stage trumpets.
Kasia Balejko provided a sensitive and assured performance throughout and her voice blended beautifully with that of Samantha Crawford in the Recordare. Ben Thapa took a somewhat melodramatic approach to Ingemisco tequam reus. However, we were back on assured ground with David Ireland at Confutatis maledictis. The Dies Irae theme returned, followed by the heartfeltLacrymosa.
Trumpet fanfares announced the exhilarating Sanctus and Benedictus, a complex animated fugue for double chorus, which was tackled well by the choir and orchestra.
In the Libera Me there was very assured singing from Samantha Crawford in the tremendous climax of the work with her climbing phrase to an impressive top C, underpinned by the combined forces of choir and orchestra.
This was a very exciting concert. Everyone rose to the occasion, demonstrating all the hard work and preparation which had gone into providing a stunning performance.
Cantata’s next concert is Karl Jenkins:The Armed Man on 24 November 2018 at Medina Theatre.
