This was a rousing performance of Mendelssohn’s masterpiece, completed in the penultimate year of his too-short life, and premiered in Birmingham in 1846. Potential audience members put off by Saturday’s  dreadful weather missed a rare treat. Choir, soloists, and orchestra gave of their utmost, and Michael Pearce in the title role was especially noteworthy, never flagging throughout his long and strenuous part. The other solos were finely sung, Hannah Mason  appropriately angelic , Fiona Hammacott in fine voice, and Nicholas Sharrat’s  ringing tenor convincing as Obadiah.

Special mention should be made of young William O’Brien as the youth, a brief but important part for boy treble beautifully sung with confidence and maturity.

Conductor Derek Harrison is always in control of his forces, and the choruses were given with precision as well as passion. The fine organ playing of Peter Jaekel added extra power and depth to the climaxes.

The aptly-named Bartholdy (Mendelssohn’s hyphenated surname) Orchestra, which was originally formed for a performance of this piece, played well, as one would expect, and the various solos were accompanied with taste and discretion, allowing the words to be heard clearly. Unfortunately, due in part no doubt to the cavernous acoustic of this very high-roofed church, the orchestra, as usual placed in front of the choir, frequently seemed too loud in the climatic choral passages, drowning the efforts of even the 100-plus singers at maximum volume. Despite this, however, the overall impact of the work was overwhelming, and at the final exultant chorus, Elijah, orchestra, choir, and audience ascended figuratively to heaven, if not in a fiery chariot, at least in the rapturous glow of Mendelssohn’s heavenly inspiration.

Gordon Williams

Hertford Choral held a workshop led by Lord Berkeley of Knighton, as part of the preparation for this concert, you can read more about it here.

Sweet choral treats stimulated the senses: this was a hard-working evening for the audience, which was required at intervals to sing six carols.  I cannot vouch for the quality of my own contribution, as it was mercifully absorbed into the impressive volume from a church with no spare seats.

The real work came, of course, from the choir, who not only led the massed singing but also performed many less well-known pieces in attractive arrangements with their customary polish and accuracy.  It was good too to hear them sing another very impressive piece, A Lullaby to the Nativity by Richard Blackford with its attractive melodies, following the success of the choir’s performance of his Mirror of Perfection in their previous concert.

A feature of this concert was the contribution of the choir of Bengeo School, excellently drilled by their conductor, Catherine Smith to produce clarity and a good volume in their excerpts from Scrooge (the musical) in the first half and particularly effective in the second half with Herbert Chappell’s Raggle Taggle Three Wise Men with its honky-tonk underlying rhythm.

Every Christmas Cracker contains its special little treats when opened up; Sir Thomas Beecham referred to his bon-bons offered as choral treats.  In this concert the delicious interludes came from Paul Mayes and his trumpet – three trumpets actually. First, he gave a rendering of Jeremiah Clark’s Prince of Denmark’s March played on the unfamiliar piccolo trumpet, which he demonstrated with a dazzling cadenza that soared up into the rafters, probably shattering a few tiles with its concluding note as it soared to outer space and which endowed a familiar piece with an unaccustomed brightness of tone.  This he followed with O Holy Night by Adolphe Charles Adams on the more mellow E flat trumpet.  He used a B flat instrument in second half pieces to further confuse us; excellent music that entertained and instructed.

Natasha Page, a homegrown young soprano now in her second year at The Royal Welsh College of Music contributed some accomplished singing with Paul Mayes in Let the Bright Seraphim from Handel’sSamson.

But perhaps the tastiest surprise bon-bon in the Cracker came when the compere, Roger Mullis, combined voices with Music Director Derek Harrison for the two counter tenors to sing an alto duet by Purcell with sensitivity and the accomplishment to be expected.

Richard Henderson

On the eve of Remembrance Day Hertford Choral Society presented a thoughtfully crafted programme to a sell-out audience at All Saints Church.

The Chameleon Arts Orchestra opened with Music for Carlow, overflowing with Irish lyricism and vibrant rhythm before accompanying the choir in Mirror of Perfection by Richard Blackford.  The choir took confident control of the varied tonesand textures used in this ambitious choice of music to express praise, overpowering love, faith and  Soloists Emma Tring and Stephen Charlesworth joined the performance that included demanding syncopation contrasted with warm and expressive lines to convey the power of love through the words of St Francis. Blackford, present for the performance, complimented the choir on their musical rendition.

Followed by Faure’s Requiem Mass the musicians recreated the message of peace and happy deliverance through warm and balanced tones.  With timbres ranging from the dark austere opening> to the beautiful Sanctus the music was shaped with tenderness.  This was no ordinary concert< presentation however as it uniquely diverted from the norm.  Movements were separated by words of Simon & Garfunkel, WB Yeats, and Wilfred Owen among others. Originally selected by Music Director Derek Harrison and powerfully read by Peter Ruffles they highlighted the deep meaning in> the original Latin texts and supported the fine musical expression of the choir.

This was a thought provoking combination of music, reaching back to mediaeval texts to bring us a profound message of hope at a time when remembrance is surrounded by conflict. You will often hear Faure’s popular Requiem performed as yet another concert piece.  Rarely will you encounter it presented with such fine artistic direction and thought.

Steve Wright

Hertford Choral Society teamed up with the Hammonds Saltaire Band to deliver an enterprising, entertaining and hugely enjoyable concert. Entitled Jubilification (well – not exactly – ed) the concert promised, and delivered, that very English mix of music-making found in the works of Parry, Elgar and Walton as seen at many coronations, other royal occasions and the last night of the Proms. In keeping with the latter, it also contained a few ‘novelties’ that allowed some cunning planning to balance the exuberant with the more reflective. I had not heard the band before and they are a very polished outfit – and it was great to see so many young faces in their ranks.

The concert opened with Parry’s I was glad from the 1902 coronation (and every one since) complete with the 1953 ‘vivats’ for Her Majesty. After a surprisingly lightweight opening from the brass, this settled down into a committed performance (with very clear words) and came to a rousing conclusion setting the evening off in great style.

Elgar’s Great is the Lord followed in a fine arrangement for the brass with good clear words from the gentlemen. The many contrasts were well managed, though the brass was a little too prominent on occasion.

Walton’s Crown Imperial (from the 1937 coronation) allowed the band to show their strengths with a crisp opening and snappy trumpets contrasted by a fine liquid sound for the 'big tune'. Given the high musical standard, I was slightly surprised by the lack of ‘give’ in the tempo on occasion. The Lincolnshire folk tune Brigg Fair had an excellent flugel horn solo; the rich warm sound evoking a gentle summer’s day.

Walton’s Coronation Te Deum brought us to 1953. Andrew Parnell delivered the very taxing organ score with clarity and élan whilst providing exactly the right amount of support for the singers. The piece ‘came off’ but one sensed that for some of the singers this was right at the limit of what could be done.

The following two songs from Verdi (opera choruses Speed your journey from Nabucco and the Anvil Chorus from Il Trovatore – ed) were delivered with panache and an excellent legato from the band when needed.

British Sea Songs allowed the band to show a variety of textures and colours and gave the audience some practice in clapping (not that they needed it!).

The second half began with some electrifying playing in Holst’s Jupiter with rippling trumpets and an opportunity for us all to sing ‘I vow to thee’.

Harwood’s O how glorious suffered by comparison. After a rather perfunctory (too fast?) opening, the strong first unison phrases from the choir faded away and the piece never regained the energy and momentum needed to make it work.

Malcolm Williamson’s Jubilee Hymn (from the 1977 Silver Jubilee) was a delightful novelty and was extremely well sung. I wasn’t convinced by the two organ fanfares, which seemed a little at odds with the haunting main melody.

William Mathias’ Vivat Regina, also written for the 1977 Silver Jubilee, was a striking and slickly performed piece. It also made this listener sit up as one movement opens with material used in the organ part of an earlier anthem.

Elgar’s Nimrod was a textbook demonstration by the band of sustained legato control through staggered breathing, the whole piece rising to an impressive climax through a seamless crescendo. Eric Coates’ Dambusters whizzed along – but I wasn’t really able to hear the words.

Finally the audience got to its feet and joined in singing Land of Hope and Glory and Jerusalem at a collective volume that had to be heard to be believed. Chorus and band both received well-deserved ovations.

Next year Derek Harrison is planning a teaming of choir and percussion – I can’t wait!

Martin G Penny

Hertford Choral Society performed Handel's Israel in Egypt on 31st March 2012.  A review is below, while pictures were created by members of Hertford Art Society inspired by the piece.

Why Handel’s Israel in Egypt is not performed more often is a bit of a mystery.  Too challenging for the choir?  Too musically rich for the audience? Needs a really competent orchestra? 

The first part, Exodus, is unbroken and challenging for the choir, blended and enriched with continuous support from the orchestra.  Under Derek Harrison’s guidance the choir maintained a fine musical flow and the balance between the choir and the excellent Brandenburg Sinfonia was just right.

The first part in particular is full of vivid baroque word painting – the melody hopping about all over the place to “their land brought forth frogs”, or the wonderfully percussive settings of “He gave them hailstones” and “He smote all the first born of Egypt” bracketing the dense harmonies of “He sent a thick darkness over the land”. 

It was helpful having these texts in the programme to follow in order to join in the sheer fun that Handel’s music generates.  Whoever would have guessed that Handel was not entirely solemn? 

The Song of Moses saw the soloists take up their share of the work.  These were all students from the Guildhall School of Music, well on the road of promise but not always having the mature voice volume to fill the vast spaces of All Saints’, whose acoustics are not of the kindest. 

The voices of the two sopranos came together with beautiful balance in their duet The Lord is My Strength, particularly effective near the beginning of part two and the soprano solo Thou Didst Blow With the Wind was confident and clear. 

A thoroughly stimulating evening from Hertford Choral Society, which was abetted by the Hertford Art Society. The selection of their paintings inspired by the oratorio’s text responded in different modes.  The most successful were the more visionary responses, notably the baroque Rubenesque swirls of Janet Benge’s Flies and Worms and John Jarret’s storm clouds.

Richard Henderson

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