RECENT CONCERTS
CONDUCTORS :
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1961 - 1970 1970 - 1976
1976 - 2017
2017 -
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Reginald Adams. Mark Deller
Stephen Hope
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30th June 2018 - Summer Concert.
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On a very warm summers evening on 30th June 2018, Folkestone Choral Society plus guest singers, The Amberley Orchestra and soloists performed a "Big Sing" Mozart concert at the Leas Cliff Hall in Folkestone, under the directorship of Stephen Hope. Due to the warm conditions dress code for choir members was relaxed to DJ`s minus jacket for men and short sleeve attire for ladies. The first half of the concert was purely instrumental consisting of Eine kleine Nachtmusik K525 followed by Clarinet concerto K622 with Peter Cigleris featured playing the Basset horn. Leadership of the Amberley orchestra on this occasion was Levine Andrade. After the interval the choir, orchestra and soloists took their positions for the Mozart Requiem. Invited members of Choral societies both local and further afield together with other singers keen to join in, participated swelling our numbers to 120. The soloists were Lesley-Jane Rogers (Soprano), Louise Crane (Mezzo-Soprano), Justine Lavender (Tenor) and David Wilson-Johnson (Baritone). We especially wish to acknowledge Duncan Lord`s input for assisting with rehearsals and as Timpanist on the night of the concert. The Orchestral Manager was Imogen Taylor.
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24th March 2018 - Spring Concert
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On the 24th March 2018 at St. Leonards church the Folkestone Choral Society under the baton of Stephen Hope performed a duo of Requiem`s. The lesser known Philip Ledger Requiem and the well known Requiem by John Rutter. The supporting musicians were Flute - Stina Wilson, Oboe - Sheila Marshall, Cello - Anita Stevens, Double Bass - Sue Denyer, Timpani and Glockenspiel - Graham Dare with our rehearsal accompanist Tim Parsons on the Organ. Our soloists on this evening were Felicity Hope - Soprano and David Walder - Tenor. The opening piece was the Philip Ledger Requiem followed by a new innovation for these concerts consisting of members of the instrument ensemble playing pieces of their choice. The interval followed and the concert concluded with the John Rutter Requiem.
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2nd December 2017 - Winter Concert
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On 2nd December 2017 at Holy Trinity church Folkestone the Folkestone Choral Society and Amberley orchestra together with soloists performed a Winter`s concert comprising of Vivaldi`s ever enduring "Gloria" followed by Debussy`s "Dances Sacrée et Profane" with Valeria Kurbatova playing harp.
After an interval sustained by beverages and mince pies the concert continued with Handel`s "Let the Bright Seraphim" featuring soprano Yvonne Patrick and trumpeter Katie Hodges. This was followed by Henry Purcell`s Rondeau from "Abdelazar" and Rondeau from the "Fairy Queen". The concert concluded with Camille Saint-Saëns "Oratorio de Noël ". The whole concert was performed under the direction of Stephen Hope within this his first year of tenure with the FCS. The choral pieces were supported by soloists Yvonne Patrick, - soprano, Louise Crane and Gillian Hope - mezzo-sopranos, David Walder - tenor, Simon Wilson - baritone. The orchestral leader was Margot Rusmanis and the orchestra manager is Imogen Taylor. |
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7th October 2017 - "Face the Music with Hope"
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At St. Leonard`s church, in Hythe on the 7th October 2017. Folkestone Choral Society`s Musical Director Stephen Hope presented his one man show loosely based on the format of a Victor Borge concert. Stephen played to a packed church and in his inimitable style involved the audience in participating in musical quizzes, `All-in-one Christmas Carol`, a six minute condensed Carmen and Stainer`s Crucifixon plus popular classical piano pieces. During the interval the audience enjoyed a buffet supper provided free of charge by "Gingers Kitchen", wine dispensed at two stations. A raffle was held with donations generously provided by Society members. Proceeds from concert ticket sales, raffle and wine sales were split between the Pilgrims Hospice and the Folkestone Choral Society. |
1st July 2017 - Music for a Summer Evening.
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On 1st July 2017 on a warm summer evening at St. Leonard`s church at Hythe a light concert was performed under the direction of our new conductor Stephen Hope. The programme was designed as a way of easing the familiarization process of both conductor to our choir and vice versa. The programme consisted of "A Sprig of Thyme" a collection of ten traditional Scottish, Irish and English folk songs arranged by John Rutter. This was followed by Harp interlude played by Valeria Kurbatova. The choral elements then continued with a Medley of Beatles music by John Lennon and Paul McCartney. Following on from this was a Wind Quartet interlude with Lianna Jeffrey on flute, Michelle Andrews on clarinet, Sheila Marshall on oboe and Nick Downs on bassoon. The finale was the rousing "Rhythm of Life" by Cy Coleman with audience participation in the encore. Our piano accompanist was Tim Parsons. The choir and musicians played to a packed house. As this was a short concert there was no interval. However, at the conclusion of the music a food buffet thanks to Ginger`s Kitchen of Hythe, was laid on for our audience with wine, beer and soft drinks available for purchase. This gave an opportunity for audience, choir, musicians and our Musical Director to mingle and meet with each other culminating in a convivial evening. The orchestral manager was Imogen Taylor.
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Good Friday, 14th April 2017 - Brahms Requiem, Song of Destiny &
Concerto for violin,`Cello & Orchestra.
On Good Friday, 14th April 2017 at the Leas Cliff Hall, Folkestone a Brahms concert was performed consisting of Song of Destiny, Concerto for Violin, `Cello and Orchestra for the first part and then following the interval the great masterful Ein Deutsches Requiem (A German Requiem) sung in German. This concert was particularly poignant as it was the final concert of Berkeley Hill conducting the Folkestone Choral Society before handing over to his successor. The choir, as is customary was supported by the splendid Amberley Orchestra led by Margot Rusmanis. The soloists for the Requiem was the familiar face of Jon Williams, bass-baritone and Eleanor Gregory - soprano. The soloists for the concerto were the brilliant young talents of sisters Savitri Grier - violin, and Indira Grier - `Cello. The players and choir performed to a packed house. Suitable announcements at the beginning and end of the concert were made by Folkestone Choral Society Chairlady, Pat Chipping, reflecting and paying tribute to Berkeley Hill on his forty six years spent with the FCS and the fact that it was indeed his last concert with the FCS. The Orchestral Manager is Imogen Taylor.
Johannes Brahms (1833 - 1897)
SONG OF DESTINY, Op. 54
The song of Destiny was written by Brahms when at the height of his powers and it shares many of the stylist features of the Ein Deutsches Requiem. It was the setting of a poem "Hyperion`s Schicksalslied", which Brahms came across by chance in 1868.
The first section, after an orchestral introduction, is a serene picture of heaven and the spirit world. The second section is fast and tumultuous and focuses on man`s wanderings until life eventually fades away leaving quite a bleak picture. To finish the work originally Brahms tried a complete restatement of the first "heavenly" section, but this was not felt to be satisfactory. The solution was the reintroduction of only the orchestral prelude. This, while not eliminating the desperation of the middle section, shed a ray of light over the whole, leaving a more hopeful ending. Our performance of this piece was sung to the translation by Rev. Dr. J. Troutbeck.
CONCERTO FOR VIOLIN, `CELLO AND ORCHESTRA.
Savitri Grier - violin, Indira Grier - `cello.
The double concerto was Brahms` final work for orchestra. It was composed in the summer of 1887. The concerto was, in part a gesture of good will towards Joseph Joachim, after their relationship had ruptured following Joachim`s divorce from his wife Amalie. Joachim and Robert Hausmann repeated the concerto, with Brahms at the podium, several times in its initial 1887-88 season. As a piece to be included in concerts , this double concerto has always been hampered by its requirement for two brilliant and equally matched soloists - not a problem for our performance given the talents of the Grier sisters, Savitri and Indira, as violinist and `cellist respectively. An interesting characteristic of the concerto, resulting from having two solo instruments, is that the violin and `cello can alternate or combine, either to reinforce melodic passages which carry through the weight of the full orchestra or to provide by themselves complete harmonies. This allows soloists and orchestra to share the musical argument in much the same way as often happens in piano concertos or in the older concerto grosso form in which a small group of strings contested with the main orchestra.
The composition consists of three movements in the fast-slow-fast pattern typical of classical instrumental concertos :
Allegro (A minor), Andante (D major), Vivace non troppo (A minor to A major)
The song of Destiny was written by Brahms when at the height of his powers and it shares many of the stylist features of the Ein Deutsches Requiem. It was the setting of a poem "Hyperion`s Schicksalslied", which Brahms came across by chance in 1868.
The first section, after an orchestral introduction, is a serene picture of heaven and the spirit world. The second section is fast and tumultuous and focuses on man`s wanderings until life eventually fades away leaving quite a bleak picture. To finish the work originally Brahms tried a complete restatement of the first "heavenly" section, but this was not felt to be satisfactory. The solution was the reintroduction of only the orchestral prelude. This, while not eliminating the desperation of the middle section, shed a ray of light over the whole, leaving a more hopeful ending. Our performance of this piece was sung to the translation by Rev. Dr. J. Troutbeck.
CONCERTO FOR VIOLIN, `CELLO AND ORCHESTRA.
Savitri Grier - violin, Indira Grier - `cello.
The double concerto was Brahms` final work for orchestra. It was composed in the summer of 1887. The concerto was, in part a gesture of good will towards Joseph Joachim, after their relationship had ruptured following Joachim`s divorce from his wife Amalie. Joachim and Robert Hausmann repeated the concerto, with Brahms at the podium, several times in its initial 1887-88 season. As a piece to be included in concerts , this double concerto has always been hampered by its requirement for two brilliant and equally matched soloists - not a problem for our performance given the talents of the Grier sisters, Savitri and Indira, as violinist and `cellist respectively. An interesting characteristic of the concerto, resulting from having two solo instruments, is that the violin and `cello can alternate or combine, either to reinforce melodic passages which carry through the weight of the full orchestra or to provide by themselves complete harmonies. This allows soloists and orchestra to share the musical argument in much the same way as often happens in piano concertos or in the older concerto grosso form in which a small group of strings contested with the main orchestra.
The composition consists of three movements in the fast-slow-fast pattern typical of classical instrumental concertos :
Allegro (A minor), Andante (D major), Vivace non troppo (A minor to A major)
EIN DEUTSCHES REQUIEM
Eleanor Gregory - soprano Jon Williams - bass-baritone
This Requiem does not use the familiar Latin text of the Roman Catholic Church, set by Mozart, Verdi, Berlioz and a host of others. Rather, it is the product of a Protestant tradition. The writing of Ein Deutsches Requiem took place from about 1857 to 1868 and was influenced by the death of Schumann (1856) and of Brahms` mother (1865). Over these years it grew from four movements to seven, the last to be added being the fifth. The final structure is symmetrical, the first and seventh movements, second and sixth etc. matching in terms of mood. The central movement in triple time has become perhaps the best known of all Brahms` choral music. The words have their focus in the living rather than the dead. They convey a Protestant`s reflections on the mysteries of death and an affirmation of the Christian`s attitude towards them, using passages from the Bible that state faith and consolation. Our performance of this work was sung in German, the language for which it was composed. Brahms took obvious care to match his music to the words from the German Bible in a way that enhanced meanings.
Eleanor Gregory - soprano Jon Williams - bass-baritone
This Requiem does not use the familiar Latin text of the Roman Catholic Church, set by Mozart, Verdi, Berlioz and a host of others. Rather, it is the product of a Protestant tradition. The writing of Ein Deutsches Requiem took place from about 1857 to 1868 and was influenced by the death of Schumann (1856) and of Brahms` mother (1865). Over these years it grew from four movements to seven, the last to be added being the fifth. The final structure is symmetrical, the first and seventh movements, second and sixth etc. matching in terms of mood. The central movement in triple time has become perhaps the best known of all Brahms` choral music. The words have their focus in the living rather than the dead. They convey a Protestant`s reflections on the mysteries of death and an affirmation of the Christian`s attitude towards them, using passages from the Bible that state faith and consolation. Our performance of this work was sung in German, the language for which it was composed. Brahms took obvious care to match his music to the words from the German Bible in a way that enhanced meanings.
Message from Berkeley
Please give my heartfelt thanks to the members of the FCS for their splendid performance of the Brahms works on Good Friday.
All sections seemed to have super-charged themselves, to the extent that they produced a big sound that was not overshadowed by the orchestra even in the loudest moments.
Apart from a minor blemish in No 2 of the Requiem (too much lemonade at the interval?), which passed in a moment and was not noticed by the audience, everything went better than I could have hoped for. I am told that the German was thought authentic by native speakers in the audience, quite an achievement.
The Song of Destiny was done beautifully, and the singing at the start was matched by meltingly soft playing by the orchestra, a memorable moment.
The big Requiem choruses were strong and robust; even the final movement sounded confident and not at all tired (a case of mind over matter?). Everyone must have been exhausted but exhilarated.
I could not have wished for a better 'final' concert to conclude my 40 years with FCS.
Many, many thanks and best wishes. Berkeley
Please give my heartfelt thanks to the members of the FCS for their splendid performance of the Brahms works on Good Friday.
All sections seemed to have super-charged themselves, to the extent that they produced a big sound that was not overshadowed by the orchestra even in the loudest moments.
Apart from a minor blemish in No 2 of the Requiem (too much lemonade at the interval?), which passed in a moment and was not noticed by the audience, everything went better than I could have hoped for. I am told that the German was thought authentic by native speakers in the audience, quite an achievement.
The Song of Destiny was done beautifully, and the singing at the start was matched by meltingly soft playing by the orchestra, a memorable moment.
The big Requiem choruses were strong and robust; even the final movement sounded confident and not at all tired (a case of mind over matter?). Everyone must have been exhausted but exhilarated.
I could not have wished for a better 'final' concert to conclude my 40 years with FCS.
Many, many thanks and best wishes. Berkeley
The Folkestone Choral Society gratefully acknowledges the sponsorship of Earlscliffe College, Folkestone for part of this concert.
26th November 2016 - Carl Orff`s Carmina Burana & Opera Choruses
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Our 2016 Winter Concert was performed at the Saga Pavilion, Sandgate on 26th November. The concert consisted of Carmina Burana composed by Carl Orff and favoured Opera Choruses including Wagner`s Procession and Chorale and Bridal Chorus, Puccini`s Humming Chorus, Verdi`s Anvil Chorus and Chorus of the Hebew Slaves culminating in Mascagni`s Easter Hymn. As usual musical directorship was under the control of Berkeley Hill. The Amberley Orchestra was in support of the choir under the leadership of Jane Campbell. Soloists were Helen Bailey - Soprano, Jim Clements - Baritone and Paul Young - Tenor.
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Carmina Burana was popular in Germany after its premier in Frankfurt in 1937. In 1803 a set of 13th century song manuscripts was found in the Bavarian monastery of Benediktbeuren. These were soon recognised to be one of the most important documents of the Middle Ages, and were published in 1847 as Carmina Burana - Songs of Beuren. The anonymous authors were probably wandering minstrels, a motley assembly of students and dissolute monks who had left Holy Orders, who were the Bohemians of their time. They had knowledge of literature and theology and among them were talented poets. Their writings were of two types - scurrilous satires defying civil or ecclesiastical authority, and nonchalant celebrations of nature, wine and women.
Carl Orff had come across the texts in 1934 and selected some of the collection, a mixture of verses in Medieval Latin, Middle High German and french. He set them to music under the title of Carmina Burana. The short movements are organised in three sections: the work starts and finishes with a hymn in praise of Fortune, which the poet descibes as the true ruler of the world. The first part depicts spring, with the secular world represented by rustic songs and dances. The second part is set in a medieval tavern where not only the landlord and the revellers raise their voices, but so also does a roasting swan as it bemoans its fate. Both the pleasures and perils of drink are apparent in the songs and many of those who should not have frequented the low-down drinking houses are shamefully named. Part three, the Court of Love, contains enticing glimpses of courting lovers, perhaps what the minstrels themselves imagined for themselves, given the oppotunity. After cocking a snook at the church, the end of the movement brings back Fortune, the poet complaining that Fate is against him, his health and his virtue. Like many throught the ages, the minstrel blames his condition on bad luck, not his pursuit of pleasure, wine, women and song. |
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Richard Wagner (1831 - 1883)
PROCESSION AND CHORALE : Die Meistersinger von Nurnberg The opera is set in 16th century Germany and built around the traditions of the guild-singers and their song contest in Nurnberg. Two older masters, the cobblers poet Sachs and the town clerk Beckmesser are confronted by a revolutionary youngster, Walther. The prize at the mid-summer contest at Eva, with whom Walther is in love. Walther wins in a contest with Beckmesser, but Sachs recognises that he is of the older generation and forgoes winning Eva for himself. As the crowd assembles for the contest the procession of the Meistersingers is heard: Sachs appears and the townsfolk acclaim him. BRIDAL CHORUS : Lohengrin The opera is set in the early 10th century. Elsa has been promised in marriage to a mysterious knight as his reward for championing her, but on condition that she never asks his true name or origin. The wedding celebrations begin and after the famous prelude to Act 3, the curtain rises on the bridal chamber as Elsa and Lohengrin are escorted in to the music of this well known chorus. |
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Puccini (1858 - 1924)
HUMMING CHORUS : Madam Butterfly Madam Butterfly, which was premiered in 1904 was based on an allegedly true incident. The opera is set in Nagasaki where an American naval officer, Lieutenant Pinkerton has enticed a Japanese geisha, Butterfly, to marry him. Duty take him away and when he returns three years later he has an American wife. Butterfly is told this but does not believe it. The humming chorus is sung as the moon shines into her bedroom while she and her child sleeps. Next day the truth becomes clear to her and broken hearted she kills herself. |
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Giuseppe Verdi (1813 - 1901)
ANVIL CHORUS : Il trovatore A chorus of Spanish gypsies who work as tinkers are striking their anvils at dawn and singing the praises of hard work, good wine and their gypsy women. CHORUS OF THE HEBREW SLAVES : Nabucco First performed at La Scala Milan in 1842 the opera follows the plight of the Jews as they are conquered and subsequently exiled from their homeland by the Babylonian King Nabucco (Nebuchadnezzar). The libretto is based on the biblical stories in the books of Jeremiah and Daniel. The opera`s trumphant success was due at least in part to this chorus. It is sung as the slaves lament the loss of their homeland and it was soon widely interpreted as a political gesture, becoming the anthem of Italian patriotism: at Verdi`s funeral the crowd spontaneously sung it. |
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Pietro Mascagni (1863 - 1945)
EASTER HYMN : Cavalleria rusticana Cavalleria rusticana (Rustic chivalry) was Mascagni`s first and only real success. He composed the opera to enter in competition which was organised by Sonzogno, a Milan music publisher, but after finishing it he thought it unworthy of submission. However, his wife entered it where out of 73 entries, it was unanimously acclaimed the winner. The scene is Easter Day in a southern Italian village where the action centres on the service in the church. The Easter Hymn, which is scored for the whole cast of the opera is compelling through its aural drama, from its distant introduction right up to its final ensemble. |
25th June 2016 - Rossini`s "Petite Messe Solennelle
St. Leonard`s church, Hythe was the venue for our Summer Concert, performed on 25th June 2016. Rossini`s "Petite Messe Solennelle" was presented in Association with the Friends of St. Leonards church, Hythe under the Musical Directorship of Berkeley Hill supported by Pianos - Matthew Raisbeck and Tim Parsons and Organ - James Short. Soloists contributions were given by Eleanor Gregory - Soprano, Helen Brookes - Mezzo Soprano, Richard Dowling - Tenor and Jon Williams - Bass. Rossini`s setting of the Mass was composed late in his long life - he called it "the last mortal sin of my old age" - for the dedication of a chapel in the house of an aristocrat. This explains the small forces used originally, comprising only twelve singers and an accompaniment written for two pianos and a harmonium. Later Rossini orchestrated it but he preferred the original version. The music is obviously operatic in places. Rossini wrote "Good Lord, here it si finished, this little Mass.....I was born for opera buffa, you know it well. Little knowledge, some heart, that`s all. Well then, let me praise you, and grant me a place in Paradise."
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Good Friday, 25th March 2016 - Mendelssohn`s "ELIJAH"
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 Felix Mendelssohn
On Good Friday, 25th March 2016, Mendelssohn`s Elijah was performed at the Leas Cliff Hall, Folkestone under the musical directorship of Berkeley Hill supported by the Amberley Philharmonic Orchestra with Lead Violinist, Margot Rusmanis. This performance was given 40 years after Berkeley Hill became Musical Director having succeeded Mark Deller earlier in 1976 when Elijah was performed on 31st October of that year. The soloist contributions were given by Suzanne Fischer, soprano, Cara Currun, Mezzo-soprano, Paul Young, Tenor and Michael Pearce, bass-baritone. The youths parts in No. 19 "O Man of God, Help Thy People" were made by Toby Brooks, Samuel Fletcher and Kai Gurr. The Semi-Chorus parts were performed by members of the Shepway Singers Choir.
The orchestra was administrated by Ken Tee and Imogen Taylor. The final chorus No 42 "And then shall your light break forth" gave way to a tumultuous applause from an appreciative audience. "Thanks be to God - Folkestone Choral Society
"Be not afraid saith God the Lord" - Folkestone Choral Society
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28 November 2015 - Handel`s Samson
On 28th November 2015 at Holy Trinity Church a performance of Handel`s Samson was given. As usual the Folkestone Choral Society was conducted by Berkeley Hill and supported by the Amberley orchestra with lead violinist Margot Rusmanis and with Tim Parsons playing the organ. Soloist contributions were given by Cara Curran - Mezzo-soprano, Jon Williams Bass-Baritone, Suzanne Fisher - Soprano, Huw Rhys-Evans - Tenor, Andrew Nunn - Bass.
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20th June 2015 - Summer Concert
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On the 20th June 2015 a Summer Concert performance was given at the Holy Trinity Church, Folkestone. The programme included Vivaldi`s "Gloria" and Cello Concerto in A minor, PV35, Henry Purcell`s "Bell Anthem": Rejoice in the Lord alway, Handel`s Organ concerto : The Cuckoo and the Nightingale, concluding with Schubert `s Mass in G. The Folkestone Choral Society supported by the Amberley Orchestra was conducted by Berkeley Hill, the orchestra being led by Margot Rusmanis.
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The soloists for the Vivaldi "Gloria" were ; Helen Bailey and Hilarie Hill - sopranos and Christopher Pilgrim - countertenor.
The solo Cellist for the Cello Concerto was Molly Parsons-Gurr. The Trio for Purcell`s "Bell Anthem" - "Rejoice in the Lord alway" were - Chris Pilgrim, countertenor; Harry Strachan, tenor; Andrew Nunn, bass.
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The tenor for Zelenka`s "Laudate Dominum - Psalm 117" was Harry Strachan.
Solo organ for Handel`s Organ concerto "The Cuckoo and the Nightingale" was Tim Parsons.
The soloists for Franz Schubert`s "Mass in G" were Helen Bailey - Soprano, Harry Strachan - tenor and Andrew Nunn - bass.
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Good Friday, 3rd April 2015 - J.S. Bach - St John Passion
On Good Friday, 3rd April 2015 at the Leas Cliff Hall a performance of J S Bach`s St. John Passion and Double violin concerto was given. As usual the Folkestone Choral Society was conducted by Berkeley Hill and supported by the Amberley orchestra with lead violinist Margot Rusmanis. Soloist contributions were given by Paul Young (Tenor - Evangelist), Samuel Queen (Baritone - Christus), Jon Williams (Baritone - Pilate), Suzanne Fisher (Soprano arias), Michael Soloman Williams (Officer/Tenor arias) and Gordon Waterson (Counter tenor arias). Harpsichord accompaniment was by Anthony Halstead. The Double violin concerto was led by Margot Rusmanis and Miles Golding with Molly Parsons-Gurr - Cello. The concert was performed to near packed house who were most appreciative of the presentation.
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29th November 2014 - Winter Prom
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On 29th November 2014 at the Saga Pavilion, Sandgate, a Proms Concert was performed. The concert opened with Elgar`s arrangement of the National Anthem with audience participation. This was followed by Rossini`s William Tell overture, painting a musical picture of life in the Swiss Alps, the setting for the opera. Following on, Rutter`s "When Icicles Hang" was delivered. It consists of six poems by various writers. The orchestra then played Prokoviev`s "Troika" composed for the film Lieutenant Kijé in 1933 and he compiled a suite from it. A medley of songs from "My Fair Lady" was then performed and orchestrated by Michael Lewis. Part One of the concert concluded with Sibelius`s "Finlandia" inclusive of the hymn "Be Still. My Soul". Lightening the mood Part Two opened with the festive "Sleigh Ride" by Leroy Anderson. Following on we were treated to Vaughan Williams "Fantasia on Christmas Carols", first performed at the 1912 Three Choirs Festival in Hereford cathedral. Next sung in French was Berlioz`s "L`Adieu des Bergers" (The Shepherds Farewell) followed by the carol "O Holy Night" composed by Adam in 1847. We then arrived at the traditional proms pieces, "Rule, Britannia!" written by Arne in 1740 to an arrangement by B. Hill, this was followed by " "Jerusalem" written by H. Parry to an arrangement by Elgar. The conclusion unsurprisingly was "Pomp and Circumstance March No. 1" by Elgar. The conductor was Berkeley Hill and orchestral lead was Margot Rusmanis. Peter Cox, baritone and Paul Young, tenor supported the choir for soloist parts. The Amberley Orchestra accompanied the Folkestone Choral Society administered by Ken Tee and Imogen Taylor. The performance was well received by the large audience lifting the mood and spirits to great heights.
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28th June 2014
Anton Bruckner
Hubert Parry
John Rutter
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On 28th June 2014 at St. Leonards Church, Hythe a concert featuring brass and percussion was performed. The concert commenced with a trumpet fanfare by Salieri, followed by "I Was Glad" by Parry. The choir then offered two motets by Anton Bruckner - Offertorium and Ecce Sacerdos.
The brass then gave us "Sacra Symphonia Pian `E Forte" by Gabrielli. Then followed three more motets by Bruckner - "Gradual: Locus Iste", "Ave Maria" and "Antiphon: Tota Pulchra es" with Harry Strachan from the choir giving a great tenor solo support in the last motet. This was then followed by Rutters` rousing "Gloria" after which the interval followed. Post interval the choir performed a selection of spirituals including "Were you there" arranged by B. Hill "Joshua fight de battle ob Jerico" and a medley of five including "Steal Away, "`tis me O Lord", "Swing Low" and "Deep River" arranged by Jeremy Rawson for Pangbourne Choral Society. This was then followed by three dances for brass and percussion; "Gaillarde"," Pavane D`Angleterre" and "Basse Danse La Volunté". The finalé was "Sing!" a Toccata from Organ Symphony No. 5 in F by Widor (with added brass). The conductor was Berkeley Hill and the Organist Tim Parsons. |
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GOOD FRIDAY, 2014
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On Good Friday, 18th April 2014 at the Leas Cliff Hall, a concert was performed to mark the Centenary of the start of the First World War. The performance was given to a packed house and included "The Armed Man - A Mass for Peace" by Karl Jenkins, "Dies Natalis" by Gerald Finzi and "Requiem" by Gabriel Fauré. The conductor was Berkeley Hill and the soloists were Juliet Schiemann (soprano), Paul Young (tenor) and Peter Snip (Bass). The choir and soloists were ably accompanied by the Amberley Orchestra and Tim Parsons on the Organ.
Comments from our Facebook page :- "Fabulous performance last night - thank you all so much......" S.J. "My wholehearted congratulations to you on your performance this evening of Karl Jenkins "The Armed Man". I was moved to tears"....P.S. |
Karl Jenkins
Gerald Finzi
Gabriel Fauré
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CONCERTS PERFORMED IN 2013.
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Examples of recent concerts include Handel`s Messiah, performed on 30th November 2013 at Holy Trinity Church, Folkestone. Under the direction of Berkeley Hill, the soloists Francis Bamford (Treble), Juliet Schiemann (Soprano), Cara Curran (Alto), Huw Rhys-Evans (Tenor) and the choir sung accompanied by the Amberley Orchestra lead by Levine Andrade. Rod Spencer on Harpsichord and Tim Parsons at the Organ. On Good Friday 29th March 2013 at the Leas Cliff Hall, Folkestone an Elgar concert was given supported by the Elgar Society. Included was Te Deum and Benedictus, Sea Pictures and The Music Makers. The conductor was Berkeley Hill and the choir and soloists, Margaret Cameron (Mezzo soprano) and Cara Curran (Contralto) sung ably supported by the Amberley Orchestra under the management of Ken Tee. On 15th June 2013 at the Holy Trinity Church, Folkestone a Mozart Coronation Concert was given including Coronation Mass K317, Regina Coeli K108, Motet: Ave Verum corpus K618, Coronation Piano Concerto no 29 K276. The Musical Director was Berkeley Hill and the choir and soloists Dorothee Jansen (Soprano), June Woodland (Alto), Paul Young (Tenor), Duncan Perkins (Bass) sung supported by the Amberley Orchestra under the leadership of Margot Rusmanis. The pianist was Katherine Tinker. All under the orchestral managership of Ken Tee. |