Fr Simon Gillespie writes:
Lying in the bottom (forgotten?) corner of Lincolnshire, cheek-by-jowl with Northamptonshire and the Unitary Authority of Peterborough, it’s not often that Stamford feels as though it’s part of the mighty Diocese of Nottingham. But all that changed one sleepy Sunday in September, when no less a person than Alex Patterson, Director of Music from Saint Barnabas Cathedral, visited St Augustine’s parish, together with some of the Cathedral Choral Scholars. Their purpose, as well as admiring our beautiful Stone Town, was to enhance the 11.00am Mass with music not heard in these parts for many a year. Byrd’s Mass for Four Voices lifted the hearts and souls of the Sunday morning Mass-goers, inspiring the congregation to sing the Missa VII de Angelis with renewed enthusiasm. More delights awaited, with the Gifts being presented to the accompaniment of Pitoni’s Cantate Domino and Holy Communion received to the strains of Croce’s O Sacrum convivium. Small wonder, with the talents of Grace Bale (soprano), Leah Smith (alto), Hayden Elves (tenor), and James Farmer (bass), that the Catholics of Stamford were floating on angels’-wings as they were sent out into the world that morning, after the glimpse of heaven that they’d seen and heard.
Not content with music for the Mass, after a short break for lunch, parishioners spent the afternoon in three workshops, led by Alex and the Choristers, looking at ways in which the parish music might be augmented and developed. The first workshop was a guide to singing the plainchant of the Mass, starting with the Missa VIII which was relatively well-known, and moving through some numes and quilismae, to the unfamiliar Missa XVII. Within an hour or so the hitherto mysteries of plainchant notation were deciphered, and whilst parishioners might not be quite rivalling the Vatican’s choristers (yet...) nevertheless the aura around those strange squares and diamonds on the four-line stave had been dispelled, with plenty of good fun and humour along the way.
The second workshop moved into parts singing, and this was really where Grace, Leah, Hayden and James came into their own. Although some of the parishioners were able to sight-sing, a recurring difficulty was the combining of various voices whilst keeping each cohort singing their own distinct line. Four solid voices leading the sopranos, altos, tenors and basses made short work of keeping parishioners in line, and with confidence solidified smiles broke out on faces previously pensive to make too much noise “in case someone hears me”.
Our final workshop of the afternoon was a prelude to choral vespers, an initiative which the parish had been undertaking for some months, but which certainly needed a lift. Work was done on the way in which psalms can be sung, and lines broken up or combined, as well as understanding how the psalm tones relate to the syllables in each stanza. Some of the parish vespers is sung in English and some in Latin, and the relationship between the four- and five-line stave notations was explored,
before practically applying this newly acquired knowledge to actually singing from the Psalms, the ‘hymn book of the Old Testament’.
When five o’clock came round, and other parishioners joined for vespers, the difference from the previous week was obvious for all to behold. Clearly, five singers of Cathedral standing helped . . . but the members of the newly constituted parish choir were able to hold their own, singing with a new-found confidence and conviction, and allowing their God-given voices to soar to the rafters.
Six months on, choral vespers is still celebrated every Sunday afternoon (at 5pm, if you’re ever in the area), and the choir, whilst still small in number, continues to grow its repertoire and its confidence. The liturgies of Midnight Mass at Christmas, and the offices and services of the Sacred Triduum, were more beautiful than ever, and the 4.30am Easter Vigil, with a darkened church and solo voices singing the seven psalms by candlelight, truly drew back the veil between man and God.
It was a great privilege to welcome conductor Paul Spicer to the Cathedral on Saturday 17 February to work with the Cathedral Choir ahead of their performance of Bach’s Mass in B Minor. Paul is widely known for his work with a range of choral establishments including the Birmingham Bach Choir, the Finzi Singers, and for his teaching at the Royal College of Music and Royal Birmingham Conservatoire.
It was an inspiring afternoon spent getting under the skin of Bach’s wonderful music and exploring the range of styles and intricacies the work demands.
Our first Diocesan Youth Singing Day was designed as an exciting opportunity for children and young people aged 8 - 18 from across our Diocese to come together and sing for a day at the Cathedral. The event took place on Saturday 10 February 2018 and was led by Ellie Martin - her fun and enthusiastic approach to singing made the day most enjoyable for those who were able to attend.
The children spent most of the day learning gospel and spiritual songs such as ‘This Little Light Of Mine’, ‘Elijah Rock!’ and ‘Didn’t It Rain’ which Ellie taught aurally. They then gave an informal performance of these songs (from memory and some including actions) to family and friends before a mega Gospel medley which included fantastic audience participation.
Feedback from the children and parents was overwhelmingly positive with some parents highlighting the importance of such events considering the lack of regular choral singing in the more remote areas of the Diocese.
A reflection by Hannah Whelan, Cathedral Choir Soprano:
It’s probably quite rare to find someone of my generation who grew up listening to Daniel O’Donnell, but that I did. I am half Irish and visited my grandparents in Tipperary a few times every year. When Nanny died in 2009 there were three things at her bedside: my Granddad, a picture of Our Lady, and a Daniel O’Donnell cassette. She was a big fan. Pretty much everyone in Ireland is.
So, in December when Daniel asked if the Cathedral Choir would perform with him at the Theatre Royal, I couldn’t say no!
We were performing in a Christmas show, full of all the old hits from home and Christmas carols, complete with ‘snow’ and Daniel and his family dressed up in Dickensian costumes. Really, we were there as backing singers and were needed too ‘oooooh’ and ‘ahhhhh’ in all the right places (a bit different from our usual Palestrina) but the audience seemed as thrilled to have us as we were to be there. We received a huge round of applause each time we were introduced and the audience participation was much higher on the agenda than when we are singing Bach at the Cathedral, complete with flashing headbands and feather boas (The audience. Not us. Unfortunately).
They say you should never meet your idols, but everyone should meet Daniel O’Donnell. He has a dedicated fan base and is well known for his generosity and kindness but one never knows quite how much of that is for publicity. I was pleased that what we found in Daniel was a warm and welcoming family man. He was so grateful that we could help him. He addressed us all by our first names, taking the time to speak to each of us individually during rehearsals. It really was impressive as sometimes even Alex forgets our names!
After the show, still covered in fake snow, Daniel again encouraged us to meet him backstage where he signed autographs and we took photos with him. It’s hard not to get giddy when meeting someone famous but I had one very special message for Daniel, a decade in the making. I wanted to say thank you, for when my aunty was dying of cancer, she couldn’t go to his concert so he rang her and sang down the phone to her. There was no publicity about it. He didn’t do it for his public image. He did it for her. Luckily(!) Alex was there to video my stumbling, star-struck moment where I gave him an embarrassingly long hug... but he remembered her and I will remember this.
The Cathedral Music Department does so much for the Cathedral community, some of our work you will be aware of but some you won’t. But whatever we do and wherever we go, we are publicising St Barnabas Cathedral and putting it on the map.
I’m not a student, I worship at the Cathedral and I volunteer in the Choir. Some opportunities are par for the course, the fantastic music, the friendships; but some are God given and surprising. I will forever be thankful that I met Daniel O’Donnell and could help him, in return for what he did for my family.
And in turn, we also brought the Cathedral to a whole new group of people, and who knows whether they will be inspired to come along one day to hear us again. Of course, they’ll have to leave their light-up deely bobbers at the door, at least during Lent.
The Cathedral Diary during December is full of a whole range of organisations who have chosen to hold their annual Christmas Services and Concerts in our Cathedral Church. 2017 was no different
with the Cathedral supporting charities such as the Alzheimer's Society, Rainbows, and Maggie’s.
This year our Youth Choir contributed carols to Maggie’s ‘Carols by Candlelight’ Concert on
Thursday 7 December alongside the Trent Brass Quintet and Southwell Choral Society.
2017 also saw the return of the BBC Radio Nottingham Carol Service, last held here in 2013. It is always a pleasure to welcome BBC Radio Nottingham to the Cathedral and we have it on good authority that they enjoy working in the lovely acoustic.
The Carol Service featured a range of traditional carols including one particular request from the BBC, Neil Page’s arrangement of ‘While Shepherds Watched’ to the tune ‘Cranbrook’, commonly used for the Yorkshire folksong ‘On Ilkla Moor Baht 'At’. The Cathedral Choirs gave performances of John Rutter’s ‘The Colours of Christmas’ and Bob Chilcott’s ‘Where Riches Is Everlastingly’, also accompanying soloist Emma Browne in Adolphe Adam’s ‘O Holy Night’. No carol service is ever complete without a touch of brass and we were delighted to welcome back the members of Essentially Brass who performed ‘I Wonder As I Wander’ with soloist Emma Browne and also ‘Gaudete’ and a lively festive medley ‘The Many Sounds of Christmas’. Members of the Bestwood Male Voice Choir and the Linby and Papplewick WI (LAPWINGS) rounded off the service which was later broadcast on BBC Radio Nottingham on Christmas Eve and Christmas Day.
The appointment of Ellie Martin in September 2017 to the new role of Youth Choir Director has had a major impact on our Cathedral Youth Choir and also allowed us to open up more opportunities for young singers in a way we have never been able to do before.
Singing workshops in local schools have helped to attract new members to our Youth Choir, but also to provide schools with high quality singing expertise - something which is becoming increasingly lacking in schools due to the pressures they face on budgets.
One teacher reported:
‘Ellie came to do a one-hour singing workshop with years 4-6... she performed a variety of fun, interactive warm up activities to get their bodies and voices ready. The children were then able to practice rounds and rhythms with older songs as well as contemporary ones. To be able to offer this free is truly remarkable as many of our children are rarely exposed to proper musicians.’
Work with schools has resulted in our developing a relationship with the Nottingham Music Hub (funded by the Department for Education) and we will be working closely with them moving forward to ensure every child in the region is able to engage with high quality singing.
There have been a range of other opportunities for our current young singers. The Youth Choir was invited to sing as part of Salaam Shalom (SaSh) Kitchen Mitzvah on 22 November 2017 in aid of a National Jewish initiative which aims to bring different communities of different faiths to do good things for the world. The Youth Choir performed a number of songs and motets and also enjoyed a range of activities with other young children of different faiths.
We now have a new youth ensemble - Vivace! - comprised of a group of five girls from the Cathedral Youth Choir who meet on Fridays at 5pm to sing a range of music, learnt aurally and performed from memory. They have already performed at Mass and it has been extremely rewarding to see these young singers develop in confidence and ability as a result. We’re looking forward to seeing how the group continues to grow.
The Autumn term always feels like one huge gallop towards Christmas. 2017 was no different, but we had a few engagements before we dusted off our ‘Carols for Choirs’.
The Cabaret Evening has now been re-established as an annual event and last year took place on Saturday 21 October to a packed Cathedral Hall. Members of the Cathedral Choir offered up individual solo items such as ‘Don’t Fence Me In’, ‘Stars’, ‘The Girl in 14G’, and the sultry ‘Song of a Nightclub Proprietress’. Of particular note was Finn Mather’s hilarious rendition of Copland’s ‘I bought me a cat’,
Eden Lavelle’s moving turn as Captain von Trapp singing ‘Edelweiss’ accompanying himself on guitar, and a charming performance of Schubert’s ‘Die Forelle’ by Julius Kupfer, our German exchange student. The boys of the Cathedral Choir treated us to some classics such as the Beach Boys’ ‘I Get Around’ and barbershop classic ‘Uptown Girl’ with the full forces of the Cathedral Choir belting out ‘One Day More’ from Les Misérables and Stevie Wonder’s ‘Sir Duke’.
To mark All Souls Day, the Cathedral Choir gave a performance of John Rutter’s beautiful Requiem, written in 1985 and dedicated to the composer’s father who had died the previous year. The performance was dedicated to the memory of all those supporters of the Cathedral Choir whom we had lost in 2017, in particular Margaret Allen, former soprano Joan Sales, and Mary Fleet who would have celebrated her 84th birthday on 2 November.
Robert Gower (Cathedral Organist) writes:
I have known Francis Jackson since my student days and got to know him more closely when he agreed to become Patron of the Percy Whitlock Trust which I established in 1982. His work as a cathedral organist is well documented in 'Music for a long while', an autobiography of 2013, in which his considerable achievements as a performer and composer are set out with characteristic modesty and good humour. Visits to his home in East Acklam (now famed for its eponymous hymn tune) have been a consistent delight over the years: the photo was taken there last February. The house has a splendid westward view across the vale of York, looking beyond the lush greenery of its garden, still keenly tended by Francis himself. On its north side is a music room modelled on the Ravel's studio (Ravel being a key musical influence), complete with a small tracker action organ and piano on the ground floor, whilst a gallery houses the music library.
Francis's compositional work continues to fill his daily schedule. Of the pieces I have been fortunate enough to commission from him, two more recent works stand out - the March Salutatio Episcopalis, composed for the ordination in 2015 of the Rt Revd Patrick McKinney as 10th Bishop of Nottingham, and a hymn tune 'Ebberston' (the Yorkshire home of Francis's father), written earlier this year for a text shortly to be used here in the Cathedral. Francis also arranged the organ accompaniment of Gerald Finzi's Requiem da Camera which was sung at St Barnabas in 2015. An eloquent prelude on SS Wesley's tune 'Hereford' (sung to Charles Wesley's words 'O Thou who camest from above') which Francis wrote in 2013 immediately following the death of his devoted wife Priscilla is included in an OUP album of manuals only music for Lent and Easter, to be published in November.
Alex Patterson (Director of Music) writes:
Canon Geoffrey Hunton has, without a doubt, been one of the Music Department’s greatest supporters over the past 15 years. With his various roles during that time, he has seen it undergo radical change and development into the flourishing department it is today. Not only has he experienced the delights of three Directors of Music, numerous Organists, and scores of Choristers, but he has been integral in its success.
There have been many musical milestones which owe so much to Canon Geoffrey’s support and encouragement as Cathedral Dean, including the £25,000 grant awarded from the Friends of Cathedral Music in 2012 and the landmark performances of the Bach St John’s Passion in 2013 and the Monteverdi Vespers in 2017 which saw the Youth Choir sing alongside the Cathedral Choir with professional musicians.
His support in encouraging the development of our Youth Choir has been very crucial over the past three years and its bittersweet that the rewards of this are beginning to yield with young singers progressing into the Cathedral Choir having been trained up, and the appointment of a new Youth Choir Director to drive the work further forward.
On behalf of all the musicians at the Cathedral, I wish to thank Geoff for all he has done for us all in making the Cathedral such a welcoming and supportive environment to make music and for his good humour and unwavering support.
In the Cathedral’s commitment to supporting new music, Amy Summers, a recent graduate of the University of Nottingham and former Choral Scholar, has been appointed Composer-in-Residence.
Having sung with the choir for the last few years I'm very excited to become composer-in-residence at the Cathedral. It's incredibly lovely and rewarding to write for people that you know so well and are used to working with, and I'm so grateful to be supported by the Cathedral and music department in starting out as a young musician and composer.
Amy follows in the footsteps of Alex Patterson, who was Composer-in-Residence between 2009 - 2011, during which time some of his most well-known music was written, and now published by Banks Music Publications: Ave Maria, Two Pieces for Remembrance, and Lead, kindly Light.
I know from my own experience as Composer-in-Residence how fruitful and incredibly rewarding the role can be and I am looking forward to hearing the new music Amy will be writing specifically for use within the Catholic liturgy.
Amy's compositional talent came to light very quickly when the Cathedral commissioned a new setting of the Salve Regina which the Cathedral Choir first performed during the 11.15am Mass on Sunday 23 October 2016. This setting will appear on the Cathedral Choir's upcoming CD 'Mother of God, here I stand' (to be released this Autumn) alongside two settings of the Ave Maria by Alex Patterson and Howard Skempton, both written for the Cathedral Choir.
Carmel Oliver (soprano), writes:
Many of the congregation will have heard the Cathedral Choir perform various pieces by the Italian Renaissance composer over the past 12 months, but none could have imagined how excited we felt to sing Monteverdi in his home country. One of my earliest memories of joining the choir was overhearing a soprano say ‘I just love Monteverdi, he’s like, basically, my life’, a sentiment that rang true for most of us, so going to Italy on a #findmonteverdi mission seemed like the choir’s dream come true.
Bounding about the Skylink bus on a dreary day in August, we made a note-able crew in our shocking pink tour shirts. Our first stop was fair Verona, where we soaked up sun, Shakespearean sites and frankly unhealthy amounts of gelato. The choir, made up of choristers old and new was joined by Anna Laura, our invaluable Italian guest star, who had sung with the Cathedral choir while on exchange some years ago.
The first musical offering was a mass at the San Zeno Basilica, the church which inspired Shakespeare to write the scene of Romeo and Juliet’s wedding. Almost certainly the hottest mass we’d sung in (it was a sticky 40 degree day), we sang the Missa Bell’ Amfrit’ altera by Lassus, a motet by Hassler, and Lauda Jerusalem by Monteverdi. The congregation and clergy were an absolute delight to sing for, with enthusiastic applause all round and chilled red wine afterwards!
The very same day we packed off to Mantua in a minibus (almost as romantic as Romeo fleeing there)
or what became a magical musical event. The Basilica of St Barbara put on a concert in the evening (photo above), which gave us the opportunity to sing our entire tour repertoire. Representing a fitting musical journey from Ireland, England and ending in Italy, this included music by our own Alex Patterson, Tallis, Rutter, Croce and, of course, Monteverdi. People drifted in off the streets and sat fanning themselves in the audience for what proved to be an atmospheric and joyful concert. Two encores, thank you speeches and a standing ovation later, none of us could wipe the smiles off our faces despite the sweat!
Next stop was a day in Venice, which offered the biggest #findmonteverdi gem, his grave. After visiting the Basilica Santa Maria Gloriosa dei Frari to pay homage, we tripped over to St Mark’s Basilica (photo above) where he held the post of maestro di cappella. It was a wonderful and strange thing to try to imagine Monteverdi himself walking around in the church, hearing many of his compositions, which have survived for hundreds of years, for the first time. An almost overwhelming experience just being in the glittering building itself, it was a privilege to celebrate mass with the congregation made of locals, tourists and nuns.
Our final musical experience was a delightful mass sung in St Anthony’s Basilica in Padua. Supported by the jolliest priest I’ve ever met, we sang in the morning service and were so well received that people from the congregation compared us to angels. A few selfies with the priest after mass rounded things off nicely (below).
Other highlights included a day trip to Lake Garda, a gripping performance of Puccini’s Tosca at the Arena di Verona, visits to museums, art galleries and gondola trips. As well as the obligatory overeating, we also got to know each much more. I learned that Dave, on his 7th tour with the choir, knows an awful lot about train electrics, and that Hannah, a second soprano, always takes an extension cord on holiday with her. Chris and Anna have a great talent for discovering the best food
to be had, Leah doesn’t respond well to mosquito bites and making Alex happy with good singing is the best reward. It was an absolute privilege to represent St Barnabas with such a talented group of hardworking singers, so a big thank you to everyone who worked hard to make it happen and indeed all those who came along to support us in our pre-tour concert beforehand.
June 2017 saw the return of 38 former members of the Cathedral Choir for a grand reunion weekend which took place over Friday 9, Saturday 10, and Sunday 11 June 2017. A gala concert of choral favourites took place on the Saturday evening and the sheer wealth of choral sound which followed the organ introduction in Parry’s I was glad will long live in the memory of those who attended the concert - the goose bumps all around made it very clear that the singers really were glad to be back at the Cathedral.
The 11.15am Mass for the Most Holy Trinity on the Sunday was nothing short of epic - right from the opening Introit plainsong sung by the choir in procession from the garden. The choir were joined by the Academy of St Barnabas, an ad hoc orchestra brought together specially for the occasion to accompany the choir for Haydn’s Nelson Mass which was sung liturgically. A huge thank you to Naomi Quant, Gail Davies, James Lister and René Bloice-Sanders who took the solos.
As former choir members began to treacle back from the Friday evening, there was plenty of time for catching up and reminiscing over the weekend, as well as seeing different generations of Choral Scholars mingle and become friends. It is a real testament to Neil Page, who set up the scheme back in 2003, that such a strong bond of friendship and fraternity was evident throughout the event.
This weekend would not have been possible without the support and enthusiasm of Canon Geoffrey Hunton, the administrative genius that is Melanie Jordan, Kate Fletcher, the wider Cathedral community, and of course our choir. Sincere thanks to all for coming together to make the event possible, and to Paul Wooler and Michael Henchy for the photographs.
Aldeburgh Music’s Friday Afternoons is an international singing project which started in 2013 to celebrate the centenary of composer Benjamin Britten. That year in Nottingham, the Cathedral Youth Choir led a group of other young local singers in a performance of Britten’s collection of 12 songs (entitled ‘Friday Afternoons’) with the Nottingham Youth Orchestra in the Nottingham Albert Hall, on the composer’s birthday, Friday 22 November.
Each year since, Aldeburgh Music has commissioned composers to write new songs to encourage young singers to engage with high quality yet accessible music. In 2016, composer Jonathan Dove wrote a new set of songs entitled ‘Seasons & Charms’ which formed the basis of this project. Thanks to funding from Aldeburgh Music, the Cathedral Music department was able to run a singing project with local schools to encourage good singing technique whilst learning songs from ‘Seasons & Charms’. After an initial CPD session for school teachers, each school received a singing workshop with Alex Patterson, assisted by one of our Choral Scholars, Grace Bale, before coming together on Friday 10 March 2017 at the Cathedral for the final sharing event.
Over 200 young children took part in the project with each school performing at least one song on their own, some presenting ‘creative responses’ to their chosen song, and all coming together for three songs which had the children singing in up to four parts.
We are extremely grateful to the staff and students of Edale Rise, Our Lady’s and St Edwards, St Margaret Clitherow, St Patrick’s, Becket, Christ the King and Trinity Schools for engaging so thoroughly with the project and making the project such a success. Appetite is strong for a similar venture in the future and the Cathedral hopes to facilitate this going forward. We are also thrilled that four young new young singers have joined our Cathedral Youth Choir as a direct result of this project.
We were saddened to hear about the passing of two remarkable women earlier this year, both staunch supporters of the Cathedral Choir.
Joan Sales (14 October 1918 - 16 March 2017) was a member of Our Lady’s Young Singers (pictured), who led the singing at the 10am Mass, before going on to join the Cathedral Choir and singing for many years under Peter Smedley and then Neil Page until her retirement from the choir four years ago. In her younger days, ‘Auntie’ Joan was a keen dancer and regularly travelled to London to dance the night away to Victor Silvester and his Ballroom Orchestra. All of us who sung in the choir with Joan have very fond memories of her colourful personality. Members of the Cathedral Choir were able to attend Joan’s funeral to sing one of her favourite pieces, the Bach/Gounod Ave Maria, arranged by Ali Penge.
Margaret Allen (12 March 1940 - 9 March 2017) was a regular concert attendee at the Cathedral and known for rounding up great numbers of fellow music lovers to support our choir. Margaret had been battling with Pancreatic Cancer but was able to join us last term for our Cabaret Evening. Her passionate support for all that we do here will be greatly missed.
We were delighted to welcome composer Howard Skempton to the Cathedral on Laetare Sunday, 26 March, for the first performance of his Ave Maria at the 11.15am Mass. The piece was commissioned specially for the Cathedral Choir who will record the piece in May for their new CD of Marian music released in October 2017.
Howard is pictured above with Cathedral Dean, Canon Geoffrey Hunton, Director of Music, Alex Patterson, and members of the Nottingham Cathedral Choir.
Review of the Monteverdi Vespers performance which took place on Saturday 25 February 2017 to a sold-out Cathedral.
Monteverdi's Vespers is sumptuous as sound and as spectacle. We're not too sure why he wrote it but for many listeners it conjures up the very essence of Venice in the year 1610.
On Saturday night its glorious opening could hardly have been more dazzlingly theatrical: after a brief, urgent solo prayer the Heavens themselves seemed to open, with brass fanfares and a tsunami of bright, buoyant choral sound. The effect was like sun bouncing off the Venetian lagoon, piercing the windows of St Mark's.
For conductor Alex Patterson this performance was both a musical and logistical triumph. Not only were three choirs involved (Nottingham Cathedral Choir and Youth Choir joining forces with St Mary's) but also the period instrument expertise of the Monteverdi String Band and the English Cornett and Sackbutt Ensemble. The work calls not only for complex musical effects but also for a theatrical use of space. Some of the most moving parts of this performance (as in Duo Seraphim and Audi Coelum) were when sound emerged from a distance, shrouded in mystery, suggesting infinite echoes through time and space.
The performers were alert to the work's constantly changing textures. Monteverdi uses the full band relatively sparingly - and always with thrilling effect. But just as compelling on Saturday were the many solos: attentive to period style and all an essential part of the narrative and purpose of each hymn, psalm or prayer. Almost operatic spatial effects, as well as vivid word-painting, added to the consistent sense of drama.
Amongst this Vespers most impressive features: the brightness, bite and rhythmic vitality of the choral and instrumental sound; the stylistic unity achieved by large forces; the contribution of much well-judged musical detail to the effect of the massive whole. All those involved should feel proud of what they achieved.
Charles Collins writes:
I joined the cathedral choir in my 1st year as a chemistry student after hearing about it from a friend who was a scholar at the Cathedral. I auditioned and, after having been offered a choral scholarship, was at once warmly welcomed by the choir. Singing at the cathedral provided me with incredible opportunities to further my singing career, including workshops with accomplished singing teachers and professional vocalists, whilst the inclusion of subsidised singing lessons provided me with indispensable one-to-one tuition. Another fantastic opportunity was an unforgettable and thoroughly enjoyable tour to Barcelona, singing in breathtaking locations including Girona Cathedral and the Sagrada Familia.
On a week to week basis, the rapid rotation of music and the singing of regular services vastly improved my sight reading as well as expanding my knowledge of, and increasing my appreciation for, a wide range of choral music. Above all though, I am eternally grateful for the friends I have made. I have had the opportunity to develop on a personal level as well as a musician, thanks to the people of the choir and the strong, shared sense of camaraderie, which is evidenced by the strong alumni involvement.
I would heartily encourage any prospective student who has had some previous experience of choral singing to audition for this choir, there is so much to get out of it.
Charles Collins joined the Cathedral Choir as a Choral Scholar in May 2013. He graduated in July 2016 from the University of Nottingham with a 2:1 MSc in Chemistry. He is pictured above with our other departing Choral Scholars who graduated from with BA (Hons) in Music - Emma Kennedy (2:1) and Emma Hawkins (1st Class).
Dr Lisa MacKenzie, our first Choral Scholar, joined some of the Cathedral Choir on their recent tour to Barcelona. Here Lisa describes what they got up to...
In July a group of singers from the Cathedral Choir (past and present, young and slightly more mature!) went on tour to Barcelona, representing St Barnabas at a range of splendid venues around this beautiful city.
We started our week by singing during Mass at Barcelona Cathedral, where we received a very warm welcome from the clergy and congregation alike, with some younger members even queuing to have
photographs taken with choir members afterwards.
Girona Cathedral provided us with an amazing acoustic, Sagrada Familia was an incredible building which I cannot even attempt to describe, and Montserrat Abbey was as ornate as it was spiritual - hopefully our performance in the Basilica, including music by Casals, originally written for their choir, added to the atmosphere for the hundreds of people who were visiting this special place of pilgrimage.
We sang some old favourites including pieces by Tallis, Lassus and Bruckner as well as one of Alex's own compositions and also tackled some new and challenging music. Górecki's Totus Tuus was very well received at every performance, along with the hauntingly beautiful Mother of God, here I stand by Tavener which seemed to touch people of all nationalities whether they understood the English words or not!
Between masses and concerts, we were also able to fit in lots of sightseeing. Performing at several of the key attractions got us off to a great start and we enjoyed tours of Barcelona Cathedral and Sagrada Familia as well as exploring the rest of the city and sampling some delicious Catalan cuisine. We visited Park Güell, learnt all about Cava at a local vineyard and even squeezed in a relaxing afternoon on the beach, all whilst eating lots of ice cream!
This very talented group of singers did a fabulous job representing the Cathedral and it was a real privilege to sing with them again – thank you to Alex, Leah and everyone else who put in so much hard work behind the scenes!
ack in October we were delighted to welcome Christopher Hodkinson to the Cathedral to lead a plainsong workshop with our Cathedral Choir. Christopher is Director of Schola Gregoriana of Cambridge and Director of the Latin Schola at the Church of Our Lady and the English Martyrs in Cambridge. During the workshop, Chris gave a general introduction to the basic principles of singing chant before getting stuck into the chant for the next day’s Mass. The session has had a profound impact on the way we now approach singing plainsong and we hope parishioners have also enjoyed our new approach to singing the Introit chant whilst in the opening procession into the Cathedral at the start of Mass.
The Solemnity of Christ the King marked the first appearance of our Youth Choir at the 11.15am Solemn Mass. Members of the Youth Choir were joined by the upper voices of the Cathedral Choir to sing Britten’s Missa Brevis. The Youth Choir also joined the Cathedral Choir (including the men!) for our Festival of Lessons and Carols with a host of new and familiar seasonal music by Darke, Howells, Whitlock and David Fawcett.
Apollo5 were given a hero’s welcome when they returned to the Cathedral in January to lead a singing workshop with the Youth Choir, Choral Scholars and local school children. It was a particular joy to have Charlotte Brosnan back with us - one of our previous Choral Scholars and now professional soprano with the group.
A major date in the diary is the annual Chrism Mass during Holy Week which is led musically by the Diocesan Choir and our Choral Scholars. This year, we commissioned Dorset-based composer David Fawcett (an alumnus of Nottingham University) to compose a new work specially for the choir. The piece, The Spirit of the Lord is Upon Me was rehearsed by the choir at our annual singing workshop in March and first performed during the Chrism Mass, in the presence of the composer.
We were proud to announce the appointment of Graeme Vernon as Organist Emeritus at the Cathedral on Easter Sunday. Graeme has been a dedicated member of the Cathedral music team for over 27 years and continues to lead the Parish Singers for the 10am Parish Mass each Sunday at the Cathedral.
The Cathedral choir made a return visit to Holy Cross Priory, Leicester following singing at the Requiem Mass for King Richard III in March 2015. An hour-long concert of Music in Honour of Our Lady included an emotional performance of Gorecki’s Totus Tuus along with other music by Bruckner, Caccini, Patterson, Tavener, Victoria and Rachmaninoff.