Angela Kay MBE Founder, Artistic Director, Conductor – Nottingham Festival Chorus, East of England Singers, Southwell Daytime Voices, Wollaton Daytime Voices & Nottingham Community Voices
Angela Kay studied at Nottingham College of Education, now Nottingham Trent University, and has been involved with the choral life of Nottinghamshire for most of her professional life. Angela formed the Nottingham Choral Trust (now Music for Everyone) and has continued to develop it by working with enthusiasm and imagination as its Artistic Director. Originally known in Nottingham as a mezzo soprano soloist, Angela’s career developed first into choral and then into orchestral conducting. She has conducted many of the major works from the choral repertoire to critical acclaim.
The review is in ..................................
February 1 2020
Albert Hall, Nottingham
4****
Review: William Ruff
@ReviewsGate
The Nottingham Festival Chorus brings passionate humanity to Brahms’ Requiem
We all have our favourite David and Goliath stories in which which the little guy wins against the odds through determination and passionate commitment. Well, there’s something of the David about the Nottingham Festival Chorus. Armed only with scores, rehearsal CDs and a weekend course they not only take on the giants of the musical world but emerge unscathed and often triumphant from the encounters.
On Saturday they sang Brahms’ German Requiem, a majestic, moving, complex work and one that is unusual amongst Requiems. It’s a long way from the Latin Mass for the dead. Instead Brahms presents a cunning selection of texts from the Lutheran bible which places the emphasis firmly on comfort for the bereaved rather than immortality for the departed. Yes, there are grand fugues and a spine-tingling funeral march but essentially it’s an intimate piece whose effect depends on very precise attention to things like the composer’s instructions about phrasing and dynamics. There needs to be plenty of light and shade as well as expressive shaping of ideas and careful handling of the way climaxes are achieved.
In conductor Angela Kay’s very experienced hands this was achieved remarkably well. There were admittedly a few moments when she had to work hard to bring her nearly 200 singers into line, but generally ensemble was tight. Amongst the highlights: the unison conviction of the second movement in which the chorus sang that all flesh is grass; the bass soloist’s prayer at the start of the third movement; the great beauty of ‘How lovely are Thy dwellings’ with its lovely soprano solo and promise of comfort; the splendid depiction of the last trumpet in the sixth movement.
There was impressive playing from the Nottingham Concert Orchestra too and the Festival Chorus was blessed in its two soloists. Lizzie Humphries brought purity and a sort of wide-eyed innocence to the soprano role, reaching into the spiritual core of the music. [She had also been the joyfully agile performer of Mozart’s Exsultate Jubilate which preceded the Requiem]. Alex Jones was the impressive bass soloist, his tone dark, firmly focused and arrestingly authoritative.
Brahms himself said of his Requiem: ‘I confess I would gladly omit ‘German’ and simply put ‘Human’ in its place. The Nottingham Festival Chorus clearly knew what he meant.
Lets start by getting inspired. Below is a performance of the Domine Deus.
I particularly like a performance by a Norwegian quartet. here is a link for ease of reference. Playlist Petite Messe Solennelle av Gioacchino Rossini fremført i Levinsalen på Norges musikkhøgskole 9. februar 2012 av musikkstudenter fra Norges musikkhøgskole og Operahøgskolen i Oslo.
A tricky bit is the Christe in the kyrie. The bases start. "Count and 1 and 2 and 't' and 4" and watch the conductor and all will be well.
With Beethoven there is close relationship between the orchestra, the soloists and the choir so its helpful to review this video below about the Beethoven symphonies before we rehearse a note.
There was not much demand for church music when Beethoven was composing however he received an important commission to write the Mass in C. This is now recognised as the masterpiece that it is.
One advantage we have is that the score is complete so we do not have the competing versions we find the incomplete Mozart masses. We know exactly what Beethoven intended.
The Messiah Choruses by Handel are a particular favourite of mine.
The upper G and A notes are a great tenor exercise. Its possible for a lower voice to flip into falsetto. Personally I like to sing these choruses without doing so. Its a great feeling of satisfaction to voice this with the passion that Handel intended adding immensely to the drama and enjoyment of the piece.
This is a favorite piece with choirs and audiences in winter but its quite long so remember to bring a cushion!
'The VOCES8 Method', is resource for teachers which encourages whole school music making in a way that links music with literacy, numeracy and linguistics. ... The VOCES8 Method is published by Edition Peters and has been translated into French, German and Japanese.
When I first start started singing I joined a choir singing this work.
The choral director greeted me
with the words "you have joined us to sing what is probably the most difficult work in choral music".
The Great Mass is one of the great products of Western Civilisation. There are soprano solos which attract all the usual words like incredible. The choruses too are sublime. There are various performances below.
In this blogpost I am concentrating on the Sanctus Osana. Its possible to overthink things but the Sanctus Osana repays a little study.
First lets get inspired. The final 15 bars of the Osana are repeated at the end of the Benedictus.
The last 15 bars
This below is a nice performance below of the Osana beginning at 1.44. You will be pleased to know this follows the Peters edition!
Inevitably with such a lot of notes, this is Mozart after all, its easy to get out by a crotchet or quaver, but there are milestones along the way to look out for to get realigned such as
- midway through Bar 27.
- Bar 52 after the base melody with tenor 2 signalling the change.
The sopranos in this performance are soft and not eclipsing the altos who have an important job keeping the recurring melody going particularly in the tricky middle section.
Your conductor may insist on a quicker tempo.
The whole Scherrer RTR performance is further down with links to the movements. There are also links to the Gardiner performance movements.
This is a nice performance below of the cum sancto with the base and tenor line strong and the sopranos soft
Thats really all that needs to be said about the Cum Sancto.
By contrast the Osana lasts just two minutes yet its middle section invariably gives choruses trouble at first. I imagine ..... choral directors having the recurring disturbing dream that they are conducting the Orchestra in full flow heading as fast as possible to the safety of the last 15 bars while the four chorus sections gaze helplessly at each other.
The soprano soloist who has just rendered 'et incarnatus est' to the charm and acclaim of the audience will be mortified if you spoil her big moment!
This below is a nice view of the orchestra and conductor. Note in particular the trombones who play the recurring melody and timpani kettledrums prompting key moments.
You may find these points helpful.
1. One complication is the choir divides and the Osana is sung in two choirs.
2. The words dont present too much of a challenge. O-san-a in ex-cel-sis. O-san-a. The in excelsis pronounced in eggshell-sis, ec-sell-sis or not as your choral director prefers.
3, There are several editions of this movement. Rehearsal tracks are not totally of help. Even the best omit parts of the middle sections or confuse them. We are truely for the middle part on our own!
4. The particular score really helps. So I offer these insights from my study of the Peters edition score (edition 3 on choralia.net). There is an old and new Peters edition. It doesnt really matter as long as you are uninhibited about singing out your particular score. See also Cyberbass,
5. Yes a lot of notes particularly in the in excelsis flourishes. If you ever wondered what the button slowing the speed of rehearsal tracks down was for now you know! Tenors might find practicing in falsetto helpful. After all the sopranos make light work of their flourishes.
6. Passing the baton
The Osana begins with its simple and recurring melody. The Bases sing "Osana in excelsis Osana". Each section sings the melody passing the baton to each other like runners in a relay race.
The Tenor 1 introduces the lengthy run "in excelsis". This too gets passed like a baton from section to section.
The key to a successful performance in my opinion is for each section to know EXACTLY when it has the melody or the 'in ex celcis' flourish and its starting point. Provided the baton is not dropped all will be well!
This passing of the melody is nicely illustrated in this performance with the camera panning from section to section. In case we miss the point the trombones are placed next to the sections.
The score
So lets get to it. Bars 18-30 are reliable on the rehearsal tracks. Bars 31-43 are the danger area. Fear not all will be well!
The Bases start with the melody in bar 17 with "O" a low A. "Osana in excelsis Osana." The baton passes to the Tenor 2 with middle C. "Osana in excelsis Osana."
The Tenor 1 also start with their in excelsis fourish then this flourish passes to the bases and so on leading upto the shorter in excelsis interchange in bars 29-31. Bar 31 already!!
At the end of Bar 23 the Alto 2 picks up the melody with a G. "Osana in excelsis Osana." while the tenor 2 has a flourish Osana with the bases in excelsis which is reflected in the Orchestra base line.
The Alto 2 end with a flourish Osana. Bar 26 and its the turn of the Soprano 2 with a C "Osana in excelsis Osana" while the tenor 2 is in the middle of their in excelcis flourish. The Alto 2 flourish Osana in bar 27 is reflected in the orchestra baseline. Soprano 2 start the sopranos off with their two in excelsis flourishes.
The san in O-san-a is often the first beat of the bar so watch the conductor. The first note of "cel" is another useful marker.
You may find it helpful if there is a bit of choral etiquette with each part giving the part with the melody a bit of "room" at least for the first four repetitions.
Bar 29 is an important milestone to note.
Bars 29-31 are dominated by the in excelsis which the sopranos, Tenor 1 and Bases and sopranos pass back and forward. The Altos await their moment to pick up the melody again in Bar 31.
You guessed it. "Osana in excelsis Osana." Both Alto 1 and 2 start with an E followed by the Tenor 2 with an A. The Tenor 1 starts with in excelsis and completes the second part while the Tenor 2 repeats in excelsis. Tenor 2 has two important flourishes "cel" in Bars 32, 34 and an important O-san-na in bar 37.
In Bar 34 the Altos 2 hang onto the tune. "Osana in excelsis Osana." the Altos repeat the second "Osana" to keep the melody going to Bar 38.
Bar 38 and its the turn of the Tenor 1. "Osana in excelsis Osana."
The Sopranos 2 have the tune in bar 40 and are joined by Soprano 1 "Osana in excelsis Osana." Bars 40,41,42,43 are powerful with the sopranos having the melody. bar 41 and the tenor 2 signals the change O-san-na with a G.
Bar 44 the Tenor 2 signals O-san-na in -ex-cel-sis with Fs befire the Osana flourishes of bars 45 and 47.
We are nearly there. In fact we ARE there. We have reached the last 15 bars which are repeated in the Benedictus. The Bases pick up the melody in bar 43 "Osana in excelsis Osana."
Bar 49 is the last singing of the melody with both Altos and Bases. The tenors do and repeat their Osana. Away go the Altos again in Bar 49 joined by the Bases with the melody "Osana in excelsis Osana"
The tenors signal the change in Bar 52 with their "-na" an F. Choir 2 starts the drive to the finish while Choir 1 has one last flourish.
Ralph Vaughan-Williams The Old 100th
Handel The King shall rejoice (selection)
Palestrina Sicut Cervus
Batten O Sing Joyfully
Walker As the apple tree
Vivaldi Gloria (selection)
Mass setting
Victoria, Missa Alma redemptoris mater a8 SATBSATB
Motets for Mary
Victoria, Missa Alma redemptoris mater a8 SATBSATB [source motet for the Mass]
Morales, Salva nos stella maris a5 SAATB
Morales, Regina caeli laetare a6 SSAATB
Victoria, Regina caeli laetare a6 SSAATB
Victoria, Regina caeli laetare a8 S1 S1 A2 B1/ A1 T1 T2 B2
Victoria, Alma redemptoris a5 SATTB
Victoria, Vadam et circuibo a6 SSATTB
Victoria, Trahe me post te, Virgo Maria a6 SAATBarB
Motets for Ascension
Victoria, Ascendens Christus in altum a5 SSATB
Victoria, Surrexit pastor bonus a6 SSATTB
Lheritier, Surrexit pastor bonus a6 SSATBB
Rachmaninov: All night Vigil (excerpts from Vespers)
Priidite, poklonimsia Tsarevi nashemu Bogu
Blazhen muzh; Svete tihiysvatiya slavi
Bogoroditse Devo
Tchaikovsky: Liturgy of St John (excerpts)
Izhe Kheruvimi; Tebe poyem; Dostoino yest
Three short pieces by Ukrainian composers:
Lysenko - Bozhe velykyi yedynyi
Bortniansky - Izhe Herouvimy
Stetsenko - Blagoslovi dushe moia
Levine - Morning Prayer
Tavener - Eoni
Rheinberger - Drei geistliche Gesange
Schütz – Cantiones Sacrae
Cantate Domino
Spes me, Christe Deus
O bone, O dulcis
Jauchzet Dem Herren
Zelenka – Laudate Dominum
Zelenka – Da pacem Domine
Zelenka – Ave Regina Coelorum
North – I will praise the Lord
Artley – I will lift up mine eyes to the hills
Courtney – I am not my own
Organ and Trumpet Solos
TALLIS
Videte miraculum — SATTBarB
In ieiunio et fletu — SAATB
O sacrum convivium — SAATB
WHITE
Christe qui lux es et dies — SATBarB
Lamentations — SATBarB
PARSONS
Ave Maria (SAATB)
Domine quis habitabit (SSAATB)
Libera me, Domnine (SAATB)
Stephen Paulus, Eric Whitacre and Andre J Thomas
Taverner, Kyrie ‘Le Roy’ a4 SATB
Taverner, Missa Gloria tibi Trinitas, Benedictus a4 SATB
Taverner, Quemadmodum
Taverner, O Wilhelme, pastor bone a5 SATBarB
Taverner, Mater Christi a5 SATTB
Byrd, Ave verum corpus a4 SATB
Byrd, Justorum animae a5 SSATB
Byrd, Ave Maria a5 SATBarB
Byrd, Vigilate a5 SATTB
Byrd, Salve Regina a5 SATTB
Byrd, Laudibus in sanctis a5 SSATB
Byrd, Why do I use my paper, pen and ink? a5 SAATB
Byrd, Ye sacred muses a5 SATTB
Robert Parsons, Ave Maria a5 SAATB
MUSIC LIST DAVID OGDEN
Eric Whitacre Sainte Chapelle
Janet Wheeler Beati Quorum via
James MacMillan The Gallant Weaver
Bob Chilcott Like a singing bird
Bob Chilcott Lovely tear of lovely eye
Judith Weir Drop down ye heavens from above
David Ogden All shall be well
Morten Lauridsen Sure on this shining night
Philip Moore Morning Prayers
Ian Carpenter Ave Verum
David Bednall The souls of the righteous
James Whitbourn Pure river of the water of life
Billy Joel And so it goes
Esquivel Duo Seraphim (SSAATB)
Guerrero Surge Propera (SSAATB)
Guerrero Missa Surge Propera, Kyrie (SSAATB)
Navarro Ave Regina Caelorum (SAATB)
Guerrero Ave Virgo sanctissima (SSATB)
Lobo Ave Regina Caelorum (SSATB)
Guerrero Magnificat Sexti Toni (S(S)ATB(B))
Rodrigo de Ceballos O Virgo benedicta (SSATB)
Victoria Ave Maria a8 (SATBSATB)
Guerrero Duo Seraphim a12 (SSABarSATBSATB)
Miserere (Gregorio Allegri) — SSATB
Inviolata integra et casta (Josquin Desprez) — SATTB
Pater noster (Josquin Desprez) — SAAATB
Verbum bonum et suave (Adrianus Willaert)
Ave Maria (Willaert) — SATB
Missa Papae Marcelli (Palestrina) — SATTBB / SSAATBB (Kyrie and Agnus Dei )
Stabat mater (Palestrina) — SATB/SATB
Dum complerentur (Palestrina) — SAATTB
Let Thy Hand Be Strengthened - Blow
Turn Thee Again, O Lord At The Last - Attwood
O Saviour of the World - Ouseley
Oculi Omnium - Wood
Cantate Domino - Monteverdi
Vollendet Ist Das Grosse Werk Haydn
Geistliches Lied - Brahms
Blessed City, Heav'nly Salem - Bairstow
World Premiere: To Walk Innocently - Jackman
Requiem - Mozart
A thing you notice about the Brahms Requiem is the even tempo. The music proceeds at a steady pace of "and one and two and 't' and 4".
There are tenor high notes but mostly we are singing very quietly in pianissimo. Though singing quietly we have to keep the energy of the voice going.
A musical educator Robert Shaw made this piece his own. Below is a video produced by Carnegie Hall of him instructing a choir which is well worth watching.
0:05 Selig die da Leid tragen 2:34 Die mit Tränen sähen 5:30 Selig sind die da Leid tragen9:28 Denn alles Fleisch ist wie Gras12:43 So seid nun geduldig14:18 Denn alles Fleisch ist wie Gras17:29 Aber das Wort22:34 Herr, lehre doch mich (Bass-Solo)26:16 Ach wie gar nichts sind alle Menschen28:40 Ich hoffe auf dich31:27 Wie lieblich sind deine Wohnungen36:59 Ihr habt nun Traurigkeit43:47 Denn wir haben hier keine bleibende Stadt46:39 zu der Zeit der letzten Posaune50:03 Herr du bist würdig55:10 Selig sind die Toten
