Gillian Padgham (Flute) and accompanied by Ron Baker (piano).         

Wednesday  4^th September; Church in the Wood.

A very pleasant evening of what can be described as old fashioned ‘homely’ entertainment. The atmosphere was friendly, relaxed, light, and humorous.   I use the word ‘homely’ in that it brought to mind that this was how entertainment must have been before radio and record players; friends and relatives gathered together in appreciation of good music and talent found within themselves.  It certainly does not mean that the musical presentation was second rate.  Ron and Gillian played the best one can hear and from such a wide and challenging range.  Also, the little ornate, yet intimate, church gave not only the right setting for such music, it also gave the right acoustics for the gentle, beautiful sound of flute and piano.

We had such a wide variety. The 14 items of the duo’s repertoire were a selection from the works of Gershwin, Elgar, Rachmaninov, Grieg, Sartie, Dvorak, Sondheim, Reade, Joplin, Lloyd Webber and Lennon & McCartney.  From these composers we heard popular pieces of fairly recent times, ‘Yesterday’, ‘The Entertainer’ and ‘Memory’  to the classical ‘Solveig’s Song’,  ‘2^nd Movement of New World Symphony’ and ‘Vocalise Op 34 No 14’.  This last piece was beautifully and hauntingly presented (my favourite of the evening!).  The small audience was richly rewarded and obviously appreciative of the choice of music.

Gillian’s playing was enchanting and her flute seemed at times to be an extension of her very self.  Ron impressed us all with his playing of ‘Gymnopedie’ and ‘Gnossienne’, which he clearly likes.

It was a lovely evening of familiar and popular music.  Thank you both for your hard work.  May we hear more.

Reverend Bernard Crosby.

ChristChurch, St.Leonards-on-sea, Saturday 24^th August

Never have August Bank Holiday visitors been more welcome than ‘Londinium’.  This choir’s presentation of a capella singing was as well, if not more, received than this weekends’ sunshine. The large audience had a very entertaining, interesting and enjoyable evening.

The choir’s repertoire was far reaching, innovative and exciting.  We had a wide variety of pieces from a wide variety of composers, Stanford, Grieg, Holst, Rheinberger, Ireland, Chilcott, Chatman, Vaughan-Willaims, Campion, Brahms, Gabrieli and Purcell.  There was something there for everybody.  We ranged from Sea Shanties by Holst to Rheinberger’s Mass in E flat and in between the humour of Clocks by Stephen Chatman, the romance of Lasso, amor transporta by Gabrieli  and the charm of Vaughan-Williams Shakespeare songs.  It was a superb evening.

We also heard a variety of languages; Latin, German and Italian which, as well as the English, were clearly enunciated.

The 38 member choir’s singing was balanced, distinct, harmonious, controlled and enchanting.  It is a strong body, well conducted and controlled, each part complimenting the other.  The Ave Maria by Holst was particularly well executed by the upper voices.  Using a Soprano Soloist for the first verse of Fairest Isle by Purcell (arranged by Andrew Griffith) was a magical moment. Thank you.  Oh, and there were some lovely bass and tenor voices too.

It was perceivable that the conducting of Andrew Griffith was both light and exacting. His relationship with his voices was obviously one that demanded, within the bond of friendship, respect and loyalty. And the choir did just that. It was beautiful to watch and hear.  His dress gave one the impression that he has an aspiration to become a clergyman. He would probably do very well.  If his ministry were to become half as good as his musical direction his churches would be full.

But overall, thank you for a choir that clearly, clearly looked like it was enjoying itself. Smiling, satisfied, pleasant faces. Thank you.

Rev Bernard Crosby

Christ Church, St Leonards-on-sea 6^th August 2019

The John Sheppard Ensemble gave a most impressive evening of a capella singing which deserved a larger audience.  Unfortunately, because the St Leonards’ venue was a fill in before their performance in Guildford, the event wasn’t advertised as widely as it should have been. However, those who did attend had an enchanting and splendid evening. We heard choral singing at its best and most harmonious.

The 25 person German choir sang two pieces from German composers and two from English.  The German Brahm’s Funf Gesange and Rheinberger’s Cantus Missae had distinctive emotive flowing tones and movement.  After a brief interval, we heard four of Parry’s Songs of Farewell, delivered enchantingly with the right emphasis on his usual swell and ebb of sound.  Then, Vaughan-Williams Mass in G, which included parts for soloists. These were executed exceedingly well. Overall the choir’s harmony seemed effortless.

Two words came to mind during the whole performance. Firstly, Choreography; the voices danced, flowing and weaving together, each voice complementing the whole with no one being too loud, faltering or out of step.    Secondly, Control; the conductor, Bernhard Schmitt, though his musical direction and conducting appeared light, had a control with the choir which gave them a superiority to be envied and admired.

As an encore we were treated to an extra piece from Rheinberger where the choir surrounded the audience. It was beautiful and enchanting.  Thank you and well done indeed!

Whatever happens after Brexit, please, please, come again. Sorry, that’s an in joke.

Reverend Bernard Crosby

St John the Evangelist, Hollington, 29 July 2019

A welcome return for the Parkinsongsters to St John’s for another afternoon of popular songs and music-making.

Introducing the event, Jane Metcalfe said we were in for an afternoon of English songs but immediately launched into When Johnny comes marching home! This slightly tongue-in-cheek approach set the tone for a highly enjoyable session which had opened with The Sun has got his hat on and concluded with Bring me sunshine. In between we had folk songs – Oh no John and Linden Lea – alongside extended excerpts from The Pirates of Penzance and a wistful rendition of Steal Away. We were back in America towards the end of the programme with a selection of mid-twentieth century hits following an up-beat version of Bernstein’s America.

To give the singers a slight respite we heard two solo operatic arias – Vivaldi’s Vieni, vieni o mio diletto and Mozart’s popular Voi che sapete – before the choir gave us La chi darem la mano from Don Giovanni.

A large audience on a warm afternoon were understandably enthusiastic, which was certainly deserved, for all involved, not least Jane Metcalfe galvanising her forces but also Duncan Reid at the piano. We look forward to a regular series here.

St Clement’s Church, Hastings, Wednesday 24 July 2019

The Class Choir gave their summer concert to a very relaxed audience on a very warm evening. This was a collection of familiar songs and some which were new to the choir if not to those of us enjoying them.

They got off to a bright start with Here comes the sun – not always a wise choice in the summer but on this occasion spot on. Mr Blueskies seemed equally apt, and its unaccompanied harmonies were impressive. Conductor John Cornford takes Both sides now at quite a pace but relaxation followed in Wade in the Water. Two blockbusters followed in quick succession – I will follow him and Never enough – before a more reflective version of Adele’s When we were young. We’ve heard The Rhythm of Life at previous concerts but it was none the less welcome before the more complex arrangement of Symphony. Coming to the end of a fine hour of music making, they climaxed with Don’t stop me now but ended on a more reflective if sentimental note with Candle on the water.

The group seems to go from strength to strength – though is always open to new members who are welcome to join their numbers.

Christ Church, St Leonards, Saturday 6 July 2019

Whether by accident or design, I know not, but Hastings Philharmonic’s choice of Christ Church St Leonards for their performance of this later work of Rossini’s, Petite Messe Solonnelle couldn’t have been more fitting.  The background of this ornate church, with imposing altar beneath the colour of the stained glass east window and frescos gave Rossini’s singular religious work its proper setting.

Before the performance, as the choir filled their places, I wondered about the positioning  and its effect on the balance of sound. The tenors were to the immediate left of conductor, Marcio Da Silva, with the basses opposite, on his immediate right.  The ladies were around and to the front of him,  the three instrumentalists placed within the arc the choir formed.  However, any concern I had was blown away within the first few bars of the choirs opening Kyrie.  It was beautifully and arrestingly sung.    The balance was absolutely right and the choir maintained that equilibrium throughout the performance.  I was very much impressed by the choirs’ attention to dynamics.  Much of the work requires choir and soloists singing separately but within the same piece. These were performed particularly beautifully, expertly and seemingly  effortless.   Marcio Da Silva’s direction and conducting certainly draws the best from choirs and performers.  What was most impressive to me was that the men, few in number – 9 tenors and 8 basses – were heard as strongly, as softly, as effectively and harmoniously as the outnumbering women.  Well done men!

The soloists were superb. Tenor, Alberto Sousa, sang  Domine Deus magnificently.  Themba Mvula’s deep baritone gave  Quoniam an excellent rich quality.  The Crucifixus and O Salutaris were sung by Soprano Helen May beautifully and faultlessly.   Of the Soloists, the highlight of the evening was the duet Qui Tollis where Helen May was joined by mezzo-soprano, Beth Moxon; it was enchanting to hear and watch.  I particularly liked Albert Sousa’s expressive engagement with the music and singing. It gave an operatic element which Rossini would have approved.

Of course, the musical accompaniment of this work is distinctive. Though it can be described as ‘lumpy’ it must require much concentration, artistry and expertise.  Frances Rayner, piano, Petra Hajduchovia, harmonium, and Stephanie Gurga, chamber organ, managed all these and more.   I have heard the Preludio religioso described as ‘odd’; but their rendition was remarkable by their superb artistry.

Apparently, Rossini said that he composed this piece con amore.  It was encouraging and delightful to hear and see that all involved put this performance together with that same love.  A hugely enjoyable evening. Thank you.

Rev Bernard Crosby.

White Rock Theatre, Sunday 7 July 2019

The dancers and musicians of the National Dance Company of Ireland have been on the road for a long time now but the freshness and vitality of their performance is as uplifting as ever. On this evening there were five musicians – bodhrán, violin, accordion, whistle and guitar – playing live on stage in addition to the fourteen dancers. Two of the company also sing and we were delighted to be encouraged to join in familiar songs including Wild Mountain Thyme and Molly Malone.

However there is more to the evening than an engaging collection of dances for the underpinning narrative follows the history of the Celtic peoples from Ireland to the world-wide diaspora but always retaining a love of their heritage.

The large and enthusiastic audience appreciated the exceptional professionalism of the presentation, none less than the lighting and projections which constantly support the immediacy of the choreography.

St Mary in the Castle, Saturday 6 July 2019

A full house and a cosmopolitan group of soloists gathered in St Mary in the Castle for a night of music which may have focused on Spanish traditions but was drawn, eclectically, from a wide range of composers and soloists. There was a real sense of excitement in the audience before it commenced and one which continued throughout the many moods of the evening.

Hastings Sinfonia, under their regular conductor Derek Carden, opened with the first section of the Overture to Carmen followed rapidly, if somewhat incongruously, by D’amor sull’ali rosee from Il Trovatore, but sung with real passion by Thomasin Trezise. The main item of the first half was however a complete performance of Rodrigo’s Concierto de Aranjuez with Giulio Tampalini the beautifully accomplished guitar soloist. The work is very familiar but normally heard in separate movements. As such it was good to hear it complete for once, and the applause between movements did not upset the enjoyment of the whole.

Giulio Tampalini returned in the second half to give us an arrangement of Polo Piatti’s Goodbye, which proved gently moving in its melancholy, in total contrast to his Tango Solitaire which was interpreted by dancers from the Diana Freedman’s School of Dance.

Flamenco Dancer Ana Leon joined the orchestra to give us a lively interpretation of two familiar dances by Manuel de Falla, and we were all encouraged to join in the clapping sections of Manuel Artes’ Chamambo even if we couldn’t get the shouts in the right place.

The evening ended with Arturo Marquez’ Danzon No2 popularised by Gustavo Dudamel and the Simón Bolívar Symphony Orchestra.

While the orchestra kept its head well during the shorter pieces it seemed to have some difficulty with the larger works. Chabrier’s Espana Rhapsody came together well in tutti passages but often seemed to flounder where quieter sections required complex cross-rhythms, and this was also true of the concluding Danzon which produces fine passages of tone colour but often seemed to lack the bite the rhythms need.

A collection and raffle was held for the RNLI and a cheque was handed over at the interval for £200 to support their on-going work.

St Mary in the Castle, Hastings, 29 June 2019

The brief Biblical account of Salome has given rise to a wealth of artistic endeavours, the most recent of which comes from Edifice Dance Theatre in cooperation with Hastings Philharmonic. This is very much a step into the unexplored for them but, in the event, a compellingly worthwhile undertaking. The performance lasts about an hour and focusses on three highly contrasted individuals, each of whom is precisely characterised. We first meet Carmine De Amicis as Jokanaan (John the Baptist) a tortured individual who seems to be aware of his eventual death from the start as his movements regularly return to his neck and head. His focus is assuredly on the ascetic and removed from human contact. In total contrast Fabio Dolce’s Herod is a sickly smooth operator, as likely to seduce John as he is to try his luck with Salome. In the end his outlandish behaviour destroys both of them.

Harriet Waghorn’s Salome is a complex individual, at first defending herself from Herod’s advances but then allowing them once she knows she can twist him to her own ends.

The most compelling choreography comes in the final scene once John has been murdered by Herod. Salome dances with the dead Baptist in a stunning, if at times off-putting, duo where he is clearly lifeless yet she is able to twist and turn his body to meet her own sensuous needs. It is moving, yet disturbing at the same time.

Phillip O’Meara’s score is constantly apt to the narrative. Much of it is pre-recorded but moves in and out of the stage area, drawing in the three live musicians with consummate ease. The use of gentle pastiche for Herod and the nudging use of the Dance of the Seven Veils from Strauss’ opera is particularly telling. When Salome hears John from the cistern we hear a slow, deep male voice intoning – though the words are indistinct. For the party scene the musicians are required not only to play but to dance along with the soloists.

This is a work which grew on me as it progressed. If it took a little time to get into its stride, once it had done so it was genuinely gripping.

As it was well supported let us hope we will in future see more of the same.