St John the Evangelist, Brittany Road, St Leonards

Saturday 1 February 2020

Hastings Sinfonia’s Winter Concert was a challenging mix of music and musical styles. They also had the good fortune to attract three professional soloists across their eclectic programme. The first half was given over entirely to Beethoven’s Violin Concert with Daniel Rainey as soloist. He produced some lovely long musical lines, floating above the weight of the orchestra which at times came close to drowning him out – possibly a result of the acoustic in the church rather than the dynamics set by conductor Derek Carden. The slow movement faired best with some lovely bassoon solos playing around the violinist’s seemingly improvised lines.

The second half opened in similarly weighty vein with Franck’s Symphonic Variations. Howard Southern, a regular soloist with the Sinfonia, was the pianist here and managed to give some structure to a work which can seem all too disparate until the ‘tune’ breaks through towards the end.

After that we seemed to be in to a very different event, with a succession of shorter popular items, led by soprano Thomasin Trezise singing Musetta’s Waltz Song from La boheme and Juliet’s Waltz Song from Gounod’s Romeo et Juliette. Both items were, rightly, enthusiastically received as she not only sings them superbly but know how to play her audience to get the right response.

Two recent works brought us Polo Piatti’s romantically indulgent but finely scored Days gone by and a world premiere of Garry Judd’s Chuff. Happily linked to Hastings own local railways, it describes an imaginary journey as the steam train pulls away, encounters hills and gradually arrives at its destination. It is a lovely work and certainly deserves to be much more widely known.

Khachaturian’s Sabre Dance is obviously a favourite with the orchestra and brought out all their raucous strength before the final part of Elgar’s Enigma Variations which needs not only full orchestra but the organ as well.

A fine evening, packed to capacity in St John’s, and one to send us on our way feeling contended.

St Mary in the Castle, Friday 10 January 2020

After the excitements of Christmas the second half of Hastings Philharmonic’s Season got off to a richly romantic start before an exceptionally large and enthusiastic audience at St Mary in the Castle.

The evening opened in the depths of the Wolf’s Glen with the dark tones and opulent horn calls of Weber’s Overture to Der Freischutz. This set a tone for the whole performance with its almost brash and extrovert sense of engagement coupled with exemplary playing.

The orchestra was crowded very tightly onto the platform, making it difficult for Marcio da Silva to approach the rostrum, but this seemed to help the sense of ensemble and balance. This was particularly evident in the main work of the first half – Rachmaninov’s Second Piano Concerto. Roman Kosyakov made a welcome return as soloist, following his success in the 2018 HIPCC. He seemed both more engaged and fluent in his approach, willing to take the tiny risks which add to the frisson of his playing as well as captivating us with the wide range of tone he was able to produce. The opening Moderato had plenty of power and passion, with many sections hard driven but never at the expense of the overall musical development and balance. The central Adagio sostenuto  was gently convincing without ever lapsing into sentimentality. If for very many of us the concerto has indelible links with the bitter-sweet Brief Encounter this is not necessarily a problem as the sensitive use of the score in the film brought the work to the attention of millions who would otherwise never have encountered it. The final Allegro scherzando was attacked with a flourish and many outbursts of florid fireworks. Magnificent.  A whimsical encore followed – just the sorbet we needed. Let us hope he returns soon.

The second half brought us Dvorak’s New World Symphony. Though the piano had been moved there was still a sense of crush on the platform but this added to the excitement with a vibrancy of attack and colour throughout. Though Dvorak is picking up themes from his time in America it is fascinating how often his homeland creeps through – none more so than in the delightful central section of the third movement when we are right back in Bohemia.

Marcio da Silva’s control of his forces never flags and the immediacy of the results is always engaging and utterly convincing. Thankfully, there are still a lot of evenings to look forward to between now and the summer.

The Telling (Clare Norburn, Ariane Prussner, Kaisa Pulkkinen)

St Clement’s Church, Hastings, 15 December 2019

At a time of year when we are very accustomed to the sound of blockbuster Christmas hymns and songs belted out by big choirs, bands and in recorded format almost everywhere you turn, it’s quite refreshing to hear some proper Medieval carols sung with imaginative authenticity.

The concert – and it’s a touring show – opens with the English Medieval Carol Lullay, my child sung by Norburn and Prussner moving round the church separately, sometimes passing each other, and both holding candles. St Clement’s church has a fine acoustic around which the pure, vibrato-free voices resound in a way which is mysterious in a quasi-monastic way. It’s quite a scene setter and you really do feel as if you’ve shifted back half a dozen centuries.

The rest of the programme consists of a further twenty carols, one or two of them familiar (Past Three A Clock, the Coventry Carol and Stille Nacht ) but most of them not. It’s fairly compelling to listen to although some of the material is a bit samey and there’s an awful lot of minor key.

There were some discoveries, though. El noi de la mare, a Catalan carol dating from the 16^th century is very pretty and resonant. Verbum Caro from Finland is uplifting.

The most striking thing about this performance is the musical rapport between Norburn (soprano) and Prussner (alto). Obviously these carols have been arranged and the two singers blend together perfectly with every harmony immaculately delivered – and they’re very exposed so there’s no room for error.

Accompaniment, where required, is played on harp or recorder by Pulkkinen who also contributes some instrumental numbers. Her playing, like the singing in this concert, sounds convincingly in period.

Some of the carols are also “accompanied” by on-screen animation created by Kate Anderson. I thought they added nothing, seemed trivial and that the performers should simply trust the music they’ve chosen to sing. My companion for the evening, however, liked them and said that the visual element helped to enliven the experience when the singing began to feel repetitive. Take your choice.

Susan Elkin

St Mary in the Castle, 14 December 2019

A full house, a buzz of excitement and some of the best Christmas music this season – all of which we have come to expect from Hastings Philharmonic but it is none the less very welcome when the time comes round. We have also grown used to the younger members bringing us string solos before the main event begins, and so it was this year with three young violinists, concluding with an impressive reading of the sublime second movement of Bach’s double violin concerto.

Then onto the main event, diving in at the deep end with God rest you merry, gentlemen for all concerned. The choir items were arranged in small groups and focussed this year on quieter more reflective pieces, opening with the ladies voices in Adam lay ybounden and a moving I wonder as I wander in John Rutter’s arrangement. After another carol for all, the Hastings Philharmonic Brass Quintett gave us a sparkling version of the Sussex Carol and a subtle arrangement of Silent Night.

The next two items brought a strong contrast between the beautifully reflective O magnum Mysterium by Morten Lauridsen and the vibrant Shepherd’s Pipe Carol from John Rutter.

After the interval and two more carols for all, the choir gave us a jolly Sir Christemas and a gentle Gabriel’s Message, before the Brass Quintett returned with a baroque sounding Es ist ein ros entsprungen and an unusual arrangement of The Holly and the Ivy.

Then came the moment without which it would not be a Hastings Philharmonic Christmas – Marcio da Silva singing O Holy Night.  It seems to get better and more moving every year, and long may it continue.

The guest children’s choir this year were from Christ Church Primary School who sang Jay Althouse’ In December and Jonathan Dove’s Snow.  Both of these were probably unfamiliar to the majority of the audience and a fine addition to the Christmas repertoire. They concluded with a rousing Jingle Bells before we all joined in Away in a Manger.

The final item from the choir reflected the note of intimacy which pervaded this year’s concert with A maiden most gentle before we all came together to sing O come all ye faithful.

The atmosphere in St Mary’s was certainly very warm and we understand that it will be even warmer soon as the money has been raised to replace the boilers!

St Clement’s, Hastings, 11 December 2019

The Class Choir’s concerts are always enjoyable and the Christmas one especially so with its rich refreshments and a sense that we are all welcome to join in. Not that we could with all the pieces, particularly the opening Dona nobis pacem and Jazz Gloria both of which set the tone for the evening – a focus on Christmas but happily inclusive. The song from the Witches of Eastwick was pleasant even if the words were inaudible, but there was no such problem with the ebullient It was on a starry night and All I want for Christmas is you.

The Carol of the Bells is a favourite and worked really well as did the concluding Rudoph, Jingle Bells and We wish you a merry Christmas.

In between we had sung a number of well-known carols – even if the words in the hymn books did not always agree with those being sung by the choir – and joined in enthusiastically with Winter wonderland. This relaxed evening has now become a regular part of our Christmas festivities and long may it continue.

Opus Theatre, Saturday 7 December 2019

The London Piano Trio were making their first appearance at the Opus Theatre and chose to err on the side of challenging their audience rather than going for a smooth introduction. This worked extremely well, for while the composers may have been familiar the works themselves were demanding and unexpected in the inter-active response they required from the highly attentive audience.

They opened with Beethoven’s C minor Trio Op1No3. Whereas Haydn had approved of the first two trios in the set he warned the young Beethoven against publishing the third as it might have confused the listener. One can see why. The two central movements flow easily – the Andante cantabile has a delicate beauty with the piano part hinting at much that was to come for the more mature composer. The Minuetto similarly has a florid innocence. It is the outer movements which require greater attention, the brooding opening Allegro is often uncomfortable and in the Finale the key changes seem challenging even for a modern listener.

This was followed by Shostakovich’ E minor Trio Op67, written at a time when the composer was working under extremely difficult conditions in Russia. The high harmonics for the cello in the opening bars are extremely uncomfortable and it would be easy to think the cellist was still tuning. It is eerily disconcerting. If the fire and sparkle of the Allegro is more relaxed it is not without its nervous edge. Only the simplicity of the Largo brings anything like normality – but what is one to make of the final Allegretto? With its Jewish folk music interspersed with moments of real fury it is disconcerting to the point of being almost upsetting, and yet Shostakovich leaves us on the right side of despair.

After the, by that stage very necessary, interval, we were with Shubert and the B flat major Trio D898. If this was distinctly easier on the ear, its late writing meant that there were subtleties within the score which provide darker colours and hints of tension which were potentially at odds with the surface beauty. The wonderful richness of the opening movement gives way to the sublime Andante and the playfulness of the Scherzo. The final Rondo is indulgent in all the right ways and brought the evening to a most satisfactory close.

The most obvious comment about the playing was that one was never aware of any one musician leading, only of the trio playing as a single instrument. This is a tribute to the mature professionalism of violinist, Robert Atchison, cellist, David Jones and pianist, Francis Rayner. We hope they will be back again soon, potentially before the end of this their twentieth anniversary celebrations.

St John the Evangelist, St Leonards, 7 December 2019

Seaview Carol Concerts really do get better and better each year. I know I am biased but this year’s was certainly vintage. After Father David’s familiar warm up act, Sound Waves Community Choir brought us four familiar carols in rousing settings. The Ragged Friends Chorale – a new one on me – excelled with a cappella arrangements of Little Cradle Rocks, The Sailor’s Carol and May your cup always be full –lovely numbers which I would like to know better.

Shadey Pines are an all-female group who brought the visiting singers’ contributions to a close with Lean on Me. In between we had heard briefly from Trustee Duncan Tree, Seaview CO Dave Perry and the Mayor, Cllr Nigel Sinden, extolling the extraordinary work undertaken at Seaview and the way everyone concerned is prepared to go the extra mile for the clients. They did not need to make any political points – the facts spoke for themselves.

But they really had saved the best for last. There have been some years when, honestly, Seaview Choir has brought joy and enthusiasm in armfuls even if the musical qualities have not been at the standard of the rest of the performers. Not this year. Led by Jenny Miller they gave us resounding renditions of God Rest Ye Merry, and We Three Kings; a lovely reading of The Owl and the Pussycat and two stunning arrangements of Santa Baby and Rockin’ around the Christmas Tree. They were joined by members of Barefoot Opera but you would have been hard-put to tell who was who from the voices on display.

Seaview does far more that support the homeless. It gives hope to individuals when they most need it and this Christmas, this was the most hopeful event I had attended.

Bexhill Choral Society;

St Barnabas, Bexhill, 7 December 2019

Even Scrooge would have warmed to Christmas with this presentation.  It was a delightful mixture of the familiar, and not too familiar Carols, but with originality too. Yes, you may have to read that twice – I will explain later.  But for now, it definitely wasn’t the all too familiar Carol Concert.  It was different and fun. Conductor Ken Roberts put together a splendidly varied programme.  Ken has a particular sense of humour evident in his talks and presentation.   The familiar Carols were sung by the choir paying attention to dynamics, crisp or melodious when needed.  There were several choir pieces that were unfamiliar, ‘Presentation of Christ in the Temple’, ‘Resonemus Laudibus’ and ‘Ring out Wild Bells’. These must have had their difficulties but the choir seemed to have mastered them.  Sussannah  Appleyard has a very light distinctive easy-to-listen to soprano voice and she entertained us enchantingly with six pieces. One extra than the programme, but it was welcome.  I particularly liked ‘Winter’ (words by Shakespeare) and it was obvious she did too.  The Cinque Ports Brass Ensemble accompanied the choir, but unfortunately, and naturally as is brass bands want, perhaps a little too loudly at times.  But you could not fault their talent and enthusiasm, and it added forgivably, to the Christmas ‘feel’.   The very talented Nigel Howard gave support on Organ and piano.  Conductor Ken Roberts, so he told us, had been on a Cruise to the Caribbean and had met with a band. This inspired him to set some familiar Carols as Calypsos. It was a delightful arrangement and was the originality I wrote of above. Ken also accompainied ‘Frosty the Snowman’ with his saxophone, which delighted and entertained the audience immensely. On a sour note, the audience participation had all the gusto of a left over sprout. I looked around me at one point and observed great hulking men who would, I am sure with the right lubrication, sing loudly and raucously, but who were closed mouthed. It is such a pity we no longer sing.  With that audience we could have raised the roof. Oh, and I did like the anti-secular insertion of readings from St. Luke’s Gospel, but then of course I would.  I am biased. Thanks to all who took part in a delightful entertaining  ‘Christmas’ evening. Revd Bernard Crosby

St Clement’s Church, Hastings, Sunday 1 December 2019

A gently reflective start to Advent, drawing on baroque scores based on texts for the liturgy for the start of the season. The pastoral underpinning of the Christmas story was secured from the start with the Adagio from Pez’ Concerto Pastorale – its combination of recorders and strings being highly effective. Buxtehude’s arrangement of In dulci jubilo is just different enough from the familiar version to be challenging but close enough to feel comfortable. His setting of Kommst du, Licht der Heiden? followed for full choir before Schutz’ beautiful setting of Rorate Coeli for two sopranos and bass.

Possibly the finest work in the first half was Buxtehude’s Alles was ihr tut which is mellifluously tuneful and uplifting, while spreading the setting across a wide range of voices. The final work before the interval took us back to sixteenth century England and Byrd’s unaccompanied masterpiece Ne irascaris Domine.

After the interval we had two more substantial works – Bach’s Cantata BWV 62 Nun komm, der Heiden Heiland and Telemann’s Machet die Tore weit. They made a convincing pair, with the richer late baroque harmonies very much in evidence from the Ensemble Orquesta Baroque and strong continuo playing.

Soloists were drawn from the chamber choir and were effective even when the tessitura proved to be challenging. Marcio da Silva not only led the whole evening but played recorder and sang bass solo.

The acoustic in St Clement’s is ideal for baroque ensembles but we will be back in St Mary’s for the traditional carol evening in two weeks’ time.

St Thomas, Winchelsea, 23 November 2019

Menotti’s miniature gem Amahl and the Night Visitors was a regular favourite forty years ago but has surprisingly slipped from favour in more recent Christmases. This is strange given its immense appeal even if that leans towards the sentimental. The score is immediate, accessible and has a post-Puccini tunefulness which is engaging throughout. It also moves the story forward in the most naturalistic way. Opera South East’s semi-staged approach worked convincingly as the score lets the story unfold very precisely – we hear Amahl hopping across to the door and back with great clarity – while at the same time the points of emotional tension were well shaped and carried through. Have you seen a child is a case in point where we see the tension of the kings’ vision set against the realities of grinding poverty.

Julia Bovee was a sympathetic mother, frustrated by her son’s constant lies, until confronted with a truth stranger than fiction. Daisy Wardle was outstanding as Amahl, the clarity and innocence of the voice combined with a real sense of personality. Gary Marriott, Arthur Coomber and Oscar Smith gave the kings individuality as well as gravity – well all except Kaspar’s rather over-enthusiastic outbursts – and John Rycroft brought strength to the small but vital part of the page.

The chorus and dance sections are essential to the work so it was good to have a small but enthusiastic choral group and Maya Godlonton-White performing the shepherd’s dance with easy elegance.

The work does not really make for an evening’s entertainment so we were treated to some pre-Christmas delights even if it is not yet quite Advent. The choir were joined by the Fipple Consort who brought us recorder ensemble arrangements of Gaudete and Purcell’s Rondo from Abdelazer, Gary Marriott sang O Holy Night, Daisy Wardle We’re walking in the air and the evening ended with Ken Roberts on sax and three popular 1950s Christmas favourites. Ken had worked overtime throughout the evening as he led from the piano while conducting with his usual panache.

Next up from OSE is The Mikado in April.