The concept of a concert based on compositions in the same key is certainly an unusual one, but for Bexhill Choral Society it proved to be remarkably effective. Mozart’s Requiem is in D minor and, as conductor Kenneth Roberts pointed out, so are many other of his more serious, not to say darker, compositions, including much of Don Giovanni.

The opening Kyrie brought finely controlled dynamics even though the choir were on the flat which can often mask the voices at the back. The brief, early, Gloria from the Missa Brevis followed, bringing with it the first contribution from the soloists; but before the operatic excerpts Robert Aldwinckle was the pianist for the final movement of Mozart’s Piano Concerto No20. Though the tempo was brisk throughout, and the musical line well formed, articulation sometimes suffered in over-hasty phrasing.

The singers may all be well known to us but that should in no way lessen the exceptional level of professionalism and musicality that they brought to the evening. Their excerpts from Don Giovanni were both apt and convincing. Sophie Pullen made a fiery Don Anna ably supported by a gently lyrical Gary Marriott as Don Ottavio in Fuggi crudele, fuggi. Peter Grevatt and Judith Buckle gave us La ci darem la mano without scores and with subtly effective characterisation. This raised the level of impact which ran over into the final scene when a stentorian Barnaby Beer as the Commendatore condemned Giovanni from the pulpit, urged on by the chorus. It was very effective.

After the interval we heard the Requiem, with a Kyrie and Dies irae full of attack and spirit. It was good to have Rosie Willcock’s splendid trombone solo for the Tuba mirum. If the men of the choir were a little hazy at the opening of Confutatis they came together again with the full chorus in the Lacrimosa and Hostias, and made much of the final Agnus Dei.

Mozart regularly draws on Handel in his setting of the Requiem and it was interesting to note that the choir seemed at its most secure in those sections.

The Sussex Concert Orchestra lead by Adrian Charlesworth sounded well balanced with enough weight to carry the concerto and the Requiem. A pleasing evening all round – now we have to prepare for Christmas!

Carols and Christmas Music, St Augustine’s, Cooden Drive, Saturday 6 December 2014

www.bexhillchoral.org.uk

The gift of a new Yamaha piano from the Friends of Bexhill Hospital has enabled them to launch a series of recitals for patients and friends.

The inaugural recital was given this morning by Raya Humphreys, following a brief introduction by the Chaplain, Rev Neville Barnett, who stressed the importance of the arts in recovery.

Raya Humphreys is a post-graduate student of the Royal Academy of Music and chose a programme of works by Schubert and Chopin. She opened with Schubert’s Impromptus Op90, the first of these slowly and quietly impressing itself upon us and taking over the spaces around us. What had been an active, and at times noisy, environment fell quiet and calm under the influence of her playing. She produced a lovely sense of rubato in the second impromptu and a gentle romanticism in the third. The final impromptu had a darker fluidity above the security which lies in the left hand.

She concluded the recital with three short works by Chopin, each finely crafted and in keeping with the intimacy and warmth she had created for us.

The photograph shows Raya Humphreys with Cardiologist Dr Richard Wray and Bexhill Hospital chaplain the Rev Neville Barnett, who have been closely involved with the movement to provide Arts within Healthcare.

The next recital will be on 18 October when Gabriel Barnett will play for us and in November there will be a recital by harpist Fiona Hosford. Close connections are being forged with local music schools and colleges to enable gifted young players to perform at the Irvine Unit over the next year.

Holy Trinity Church, Hastings, 20 August 2014

Tower Brass may be an ad-hoc group of local professional brass players but they caused quite a stir at yesterday’s lunchtime concert. From behind a screen at the far west end of the building they opened with a transcription of Mr Valiant for Truth from Vaughan-Williams’ Pilgrim’s Progress arranged for them by Roger Wilcock. This electrifying start led to a series of pieces spread around the building. Monteverdi’s Domine ad Adiuvandum  – familiar as the opening sinfonia from Orfeo- came from east and west ends, Palestrina’s Jesu, Rex Admirabilis from the south aisle and Pitoni’s Cantate Domino from deep in the chancel. But of these roving performances perhaps the most thrilling was Gabrielli’s Sonata Piano’e Forte with its fine antiphonal and echo effects ringing round the church.

Experimentation is always welcome even if it sometimes fails. An arrangement of Bach’s D minor Toccata, normally an organ piece, was one such. Given that it was almost certainly written for solo violin its transmission to brass ensemble became somewhat ponderous. A pity for what followed returned us to the immediacy of the earlier works. An arrangement by Jim Alexander of Rheinberger’s Abendlied using the soft voices of three flugelhorns was wonderful and segued effortlessly into a fine horn solo in Jeanie with the light brown hair. El Gato Montes brought us into the world of the bull-fight and demonstrated the fine articulation of the players.

The concert ended with The Saint’s Hallelujah – a combination of the Alleluia Chorus and When the Saints Go Marching In – and a chance for all the players to show off their improvisatory and jazz skills.

The highly enthusiastic welcome should hopefully ensure they are encouraged to return.

Stephen Disley; 18 August 2014

Stephen Disley has become a familiar face for the regular Hastings audience. He did not disappoint on this occasion, presenting a varied selection of music, introducing the items with interesting anecdotes and humour.

WT Best’s transcription of Handel’s Overture to the Occasional Oratorio made for a fiery start to the proceedings, followed by two pieces by Buxtehude.  The prelude on Durch Adams fall ist ganz verdebt  could perhaps have been  slightly better balanced by using a softer solo stop against the beautifully restrained accompaniment.  The dramatic Praeludium in G minor provided a good selection of well registered contrasting sections stylishly delivered. Durufle’s arrangement of Sanctify us by Thy goodness by Bach was given a sensitive performance with flutes and clarinet. Two pieces in the English Cathedral tradition brought the first half to a regal conclusion – Norman Cocker’s Tuba Tune and Walton’s Crown Imperial.

The second half contained less familiar music but to my mind was more musically satisfying. Two movements from Whitlock’s Plymouth Suite (Andante Tranquillo & Toccata) were followed by a haunting rendition of Agnus Dei by Martin. Harris’ Fancy was a welcome demonstration of light-hearted whimsy and was followed by the large scale Variations de Concert by Bonnet.

Stephen began the evening by pointing out the need for restoration work to be carried out on the Willis – something performers are becoming more and more aware of. In light of the current state of the organ (the action has become extremely heavy) it would make sense for organists to adjust their approach to concerts here accordingly. Stephen is not the first organist this season who would have benefitted from slightly slowing his pace and working with a more legato approach in order to give the mechanism time to respond. There were a number of occasions during the programme when pipes were hardly sounding – a real shame as Stephen is an excellent performer.

He concluded the evening with an unashamedly schmaltzy rendition of The Londonderry Air. Building from a gentle introduction to a huge American theatre style climax this piece sent the audience happily on its way. I hope he will be back again soon. SP

11 August 2014

Jonathan Allsopp is about to take up an organ scholarship at Durham Cathedral while studying at Durham University. On the strength of his concert at All Saints yesterday evening he will be a fine asset to the cathedral and its music.

The first half focused on baroque compositions and his choices throughout confirmed a very fine ear for registration on the Willis, reflecting a North German sound world. The Sinfonia from Bach’s Wir danken dir Gott had a lightness of touch and impressively fluid articulation which belied the weight of the action. There were lovely echo effects in the opening movement of CPE Bach’s third sonata in F and again highly sympathetic registration.

Just as we were getting lulled into a baroque comfort-zone we were gently nudged back to reality with Zsolt Gardonyi’s Mozart Changes a tongue-in-cheek arrangement of a Mozart piano movement which slips easily into jazz improvisation. As Jonathan has a real feel for jazz it would be good to hear more of this from him.

Byrd’s Fantasia BK46 brought us back to a more austere atmosphere though it was never acid, and Bruhns challenging Praeludium in E minor with its chromatic writing and sudden shifts of mood and dynamic, rounded off a most impressive first half.

The second moved us into the romantic period, opening with Guilmant’s Sonata No3 Op5. Suddenly we were in the world of Cavaille-Coll and the heady string sounds of the late nineteenth century. The central Adagio was particularly telling and prepared us for the gentle flutes of the Romance from Vierne’s 4^th Symphony.

In a subtle piece of programme planning the troubled simplicity of Vierne’s Romance flowed easily into Maxwell Davies’ familiar, but welcome, Farewell to Stromness. Although the Willis can’t provide the nasal bag-pipe sound the work seems to yearn for, the soft voicing was very effective.

Edward Marsh’ Toccata sur le theme ‘Pat le facteur’ proved to be more in keeping with the earlier part of the programme than expected. While a gentle spoof, playing with the theme from Postman Pat, the work is obviously based on the Toccata from Boellmann’s Suite Gothique and consequently quite at home with Guilmant and Vierne!

At the start of the programme we had been promised fairies and we got these in the encore with a delightfully light Dance of the Sugar Plum Fairy from the Nutcracker.

Marion Lovell had taken a risk engaging Jonathan Allsopp effectively sight unseen. As so often, her instincts were spot on and I hope we hear from him again very soon.

Next Monday 18 August, Stephen Disley.

Hastings Unitarian Church, Saturday 9^th August 2014

It could have been embarrassing to almost run out of chairs and programmes, but in fact on a day when we expected competition from other attractions like Rural Past Times, it was wonderful to see the Meeting Place full to capacity.  This was the third in our summer series of organ recitals, and we were delighted to see many new faces in the audience, as well as welcoming back many regular supporters.

As always, Stephen treated us to an eclectic mix of items, from the known and loved – a Bach Prelude and Fugue, a Brahms Chorale and Rodgers’ Carousel Waltz – to unknown compositions such as a lively sixteenth century Scottish dance with the beguiling title Kinloch his (lang) pavane!  Handel featured in both categories, with his popular Largo and a lesser known combination of Overture, Entrée and Gavotte from his Aylesford Pieces.

Stephen’s love of the Snetzler organ is infectious, and he always takes pride in demonstrating its potential. Eric Thiman’s Trumpet Tune and Air allowed us to hear the Hautbois stop masquerading as a trumpet, while Percy Whitlock’s reflective Lantana gave the delicate Dulciana stop its voice.  Comer’s Hors d’oeuvres saw the Snetzler transformed to a theatre organ, set our toes tapping, and demonstrated considerable dexterity and the technique of thumbing down! CPE Bach’s Sonata in G minor was the recital’s longest work, allowing us to appreciate much of the organ’s versatility within the one piece.

The balanced and varied programme was held together by a lively, informative and often amusing commentary which added to the audience’s enjoyment. A pleasing moment of intimacy was Stephen’s tribute to two organists of considerable seniority in the audience to whom he owed his early inspiration.

The last concert in this year’s series will be on Saturday 11^th October at 2.30pm. CE

4 August 2014

Tom Bell & Richard Brasier

A varied and original programme of music was enjoyed by a responsive audience for this, the 5^th concert of the series. Both performers are excellent ambassadors for the organ. They  combine skilled playing and good understanding and command of the capabilities of the Willis together with down-to-earth, interesting explanations of the music.

The programme was made up of four duets, a piece that required one of the pair to act as assistant and solos from both performers.

The first duet was a set of 19^th Century Variations by Adolf Hesse. It was presented with some contrasting registration and set the evening off to a very good start. The second duet was a complete contrast – Martyrs by Kenneth Leighton, written in 1976. This was an exciting demonstration of cross rhythm and a good showcase for the depth of texture and contrasting lines possible in an organ duet – and of virtuosic playing from both performers. A section from one of Samuel Wesley’s organ duets saw a return to a more conventional sound world (although Wesley is  not without his own quirks). The final duet was John Rutter’s Variations on an Easter Theme which treats “O Filii et Filiae” in a number of ways including some jazz-inspired moments.

Solo items were two contrasting pieces from Richard originally written for mechanical clock. The first, a beautifully mellow registered but at times very involved Adagio by Beethoven. The second was the well-known grand Fantasia by Mozart, in an arrangement by W.T.Best. I wonder if the clock played this piece on the hour, every hour! Both pieces were very well executed.

Tom’s pieces were both contemporary offerings. Tom’s passion for contemporary organ music is infectious and it is so good to be able to hear this music live as part of the Hastings organ series. I personally would love to hear much more included in these programmes. Martin Bussey’s Three Border Studies paint a musical picture of 3 ancient abbeys – Jedburgh, Dryburgh & Melrose, with their own character represented in the structure, texture, rhythm and melody of each piece. The most contemporary piece was a world premiere performance, given in the presence of the composer. Inspired by Ligeti’s organ work it is described as “a very gradual transformation of timbre”. It is entitled (organ piece) by John Aulich. It involves very light touch playing as well as skilful manipulation of the drawstops and placing of chopsticks (!) on the keys to allow sounds to be sustained for long periods but allowing the performer to carry out further manipulation. The piece ends with the blower being switched off allowing the sound to die away as the various harmonics become more audible.

This was a well crafted programme, designed to entertain and inform. Both performers had a natural rapport with the audience and demonstrated an excellent understanding and control of the Willis. This was their first joint performance and it is to be hoped that they will develop their repertoire of duets. I also hope that we will see more of them together in Hastings in the future.  SP

Stephen Page, Sackville Road Methodist Church

Wednesday 23rd April, 21^st May and 18th June 2014

These lunchtime concerts were a new venture for Sackville Methodist church, and proved a great success. Welcoming coffee and biscuits greeted us, and on each occasion people were soon chatting companionably.  Friends were recognised from other Methodist churches, recitals Stephen had given elsewhere, and groups like 1066 Choir and Organ, and Joyful Noise Choir.

A hallmark of Stephen’s concerts is music from a wide range of periods and styles, giving variety and incorporating the unknown and the unexpected.  Each concert demonstrated the considerable potential and versatility of the medium sized 3 manual Sackville Road organ, and members of the congregation must have taken great pleasure in hearing it played to such appreciative audiences.

As always, Stephen added to our enjoyment by his careful crafting of the items into a balanced programme, and his well researched and sometimes humorous commentary.

One highlight came from the cover of a piece composed by J. Michael Watson for Edward VII’s Coronation, from which Stephen read an advertisement for Bile Beans, claiming to cure sundry ills from biliousness and constipation to stomach pains and excessive flatulence!

Every concert featured popular items like Sullivan’s The Lost Chord, Elgar’s Salut d’Amour and Robert Farnon’s Colditz; and much loved composers from Bach to Billy Mayerl.   We were stirred by Walton’s Three Pieces from Richard III, moved to reflection by Lemmens’ Priere, and found our toes tapping to The Clog Dance from La Fille Mal Gardee. This year’s centenary of William Lloyd Webber’s birth was celebrated with Verset No 4 and Epilogue no 4.

The inclusion of two piano pieces in each concert added further variety.  We were told that Jack Fina (Bumble Boogie) was regarded as having ‘the ten most talented fingers on the radio’; in both this item and in Monti’s Czardas, the dexterity and speed of Stephen’s fingers took our breath away and surely earned him similar acclaim!

We learned to expect and enjoy a medley of songs from the shows in each concert – Sound of Music, South Pacific, and Snow White – which always sent us on our way singing. People lingered talking at the end, and it became apparent that there was much discussion about a further series of recitals next year.  Stephen is known to care passionately about the future of church organs in Hastings and the surrounding area, and to be keen to support congregations who wish to protect, preserve and promote them – so it is to be hoped that he will be persuaded! CE

All Saints, Hastings

James Lloyd Thomas, 14 July

Bastille Day – and a programme of French music to celebrate the occasion. If in the end this was not quite the celebratory event that the choice of works promised, there was a much to enjoy.

The most successful work was Messiaen’s Joie et Clarte from Les Corps Glorieux. Finely chosen registration, and succinct articulation and rhythms brought the work boldly to life. Before this, movements from Couperin’s Messes pour les Paroisses seemed overlong if brightly registered, and Franck’s Second Choral lost its way in the telling with little sense of shape or direction.

The first half ended enthusiastically with the conclusion of Guilmant’s Sonata No1.

There were times when James Lloyd Thomas seemed to be fighting with the Willis. It is not an easy instrument to master, and, watching him on the large screen, there were many times he appeared hesitant about his next move – a hesitation which affected both phrasing and choice of registration.

Dupre’s Prelude in F minor worked well but the following Fugue rambled in its melancholic way.

The Willis really does not do very fast, and both Alain’s Litanies and the concluding Dubois Toccata suffered from the pace at which they were played. Exciting certainly, but a lack of clarity and some garbled phrasing.

A programme which appeared on paper to be stimulating and apt turned out to be something of a curate’s egg. Perhaps a final splash of the Marseilles would have sent us out singing?

Next week – Daniel Cook from Westminster Abbey playing Bach, Widor and Stanford.

St Clement’s Church, Hastings Saturday 5^th July 2014 

Much eager anticipation surrounded this visit of the Canterbury Choristers to Hastings, as it had been necessary to book them two years in advance.  We ourselves were excited as our appetite had been whetted by recently hearing them sing at evensong in the Cathedral. The audience arrived early and soon filled the church to capacity.  Our own pew included an immaculately behaved dog who had come to hear his young master sing!

The choir caught our attention immediately with Henry Purcell’s fanfare Sound the Trumpet, and they delighted us to the last note of their recital. In a varied programme spanning five centuries, they treated us to items that were familiar and much loved – Rutter’s For the Beauty of the Earth, and Vivaldi’s Laudamus te – and others less familiar like the ethereal Wonder by Anthony Piccolo. We enjoyed Howard Goodall’s Love Divine and The Lord is my Shepherd, and an exciting and intricate arrangement of Cy Coleman’s The Rhythm of Life.  We were privileged to hear works composed by two previous Canterbury choirmasters – Timothy Noon’s Evocation to a Friend, and Bryan Kelly’s Jamaican Magnificat – which as David Flood pointed out, we would never hear again unless we bought the CD!

We were told how sought after was the opportunity to sing the solos.  The four young people chosen for this performance – one of whom was celebrating his birthday! – richly deserved the honour. Two solos played by David Newsholme demonstrated the potential of the church’s new organ, and gave the choristers a well deserved break.

The evening was over all too soon.  The choristers’ soaring voices had filled the church, and had moved and inspired us all by their conviction and their evident delight in their task. Their commitment and enthusiasm were apparent when talking to some of them before the concert started. Father Robert in his Vote of Thanks confessed that he was rarely lost for words, but was on this occasion. We all echoed his sentiment that these young people were making the very most of a very special opportunity, and that they left Hastings with our warmest wishes for their future success.   CE & VG