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Concert Programme for Summer 2024

Saturday 6 July 2024

7.30 pm I St Albans Cathedral

Mass in C Major (“The Coronation”) K317

Requiem Mass in D Minor K626

by Wolfgang Amadeus MOZART

Conductor Andrew Lucas

Soprano.  Rowan Pierce

Alto   Helen Charlston

Tenor Caspar Singh

Bass  Marcus Farnsworth

Orchestra Sinfonia Verdi

St Albans Bach Choir gave its first concert in 1924, a performance of JS Bach’s St Matthew Passion. On Saturday the 23 March 2024 the Choir will mark its Centenary by performing the same work in the same place, St Albans Abbey.. The Choir presents a wide variety of music, staging three major concerts and two charity carol concerts each year in St Albans Abbey. Andrew Lucas, the Cathedral’s Master of the Music, has been the Choir’s Music Director since 1998. This concert will be his farewell concert as he retires as Director of Music at St Albans Bach Choir and at the Abbey shortly after. The Choir looks forward to working with our new Director of Music, William Fox (currently assistant Director of Music at St Paul’s Cathedral who takes over as Director of Music at the Abbey on Andrew Lucas’ retirement.

Recent performances have included our Centenary Concert in April of this year when we performed JS Bach – St Matthew Passion to a very full Abbey including in the audience the Lord Mayor of St Albans and the High Sheriff of Hertfordshire. Other past concerts include Verdi’s Requiem (at Cadogan Hall), Walton’s Belshazzar’s Feast, and Duruflé’s Requiem. In 2013, 2015 and again in 2019, the Choir performed with John Rutter and the Royal Philharmonic Orchestra for their popular carol concerts at the Royal Albert Hall. John Rutter conducted his Requiem at our autumn concert in November of last year. On the 29th April last year, the Choir, in conjunction with the Parliament Choir and the Southbank Sinfonia, performed the Dream of Gerontius (Elgar) in the Basilica of St Paul outside the walls, Rome at the invitation of the Vatican. In July 2023 the Choir performed Berlioz Te Deum as the centrepiece of the International Organ Festival in St Albans Abbey.

This concert is being supported by a donation from the St Albans Abbey Music Trust

Priority booking will open on Monday 22nd April 2024.

General release of tickets will open on 13th May 2024

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Our Autumn Concert - G Rossini

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Saturday 9th November 2024 7.30 pm I St Albans Cathedral

Review: St Albans Bach Choir & Sinfonia Verdi Bach St Matthew Passion St Albans Cathedral, Saturday 23 March 2024

This concert was celebrating the St Albans Bach Choir’s centenary. Bach’s St Matthew Passion was the work performed in 1924 at the choir’s inaugural concert and so it was fitting that it was performed again and with such a terrific line-up of soloists. The St Matthew is a giant work receiving its first performance on Good Friday in 1727. It is scored for two choirs and two orchestras as well as ripieno voices supplied by the boy and girl choristers of the cathedral choir.

The work, like the earlier St John Passion, can be received on at least three levels. I cannot say which of these three had drawn the capacity audience to the cathedral, but there is no doubt that all should have been satisfied by this accomplished and confident performance. Firstly, many may have anticipated an act of devotion during Eastertide where the audience can participate in our Saviour’s final hours. In earlier liturgical settings the congregation might have participated by singing along with the dozen or so familiar chorales as hymns - a blessed relief from the shocking violence of the unfolding story. Secondly, many may relish the opportunity once more to marvel at the genius of Bach in constructing such an edifice with changing orchestration, word painting and drama. Finally, and I count myself in this category, many would have come to hear a well-loved work where we look forward to our favourite choruses and arias, either for their sublime beauty or for the skill and vocal dexterity required.

The conductor, Andrew Lucas, who is shortly to retire from the post after 26 seasons, held all these forces together brilliantly. Ed Lyon (Tenor) as the Evangelist, sang from amongst the orchestra and near to the choir. He maintained the necessary high energy and clarity required to narrate the story but also, when required, delivered pathos with perfect timing. The printed programme had the text and translation very well laid out, differentiating between the Evangelist, the other characters and the reflective passages for both the soloists and the choir which was surely an essential aid for the audience’s understanding and enjoyment.

The work begins with a lilting chorus for double choir punctuated by the choristers projecting their young voices effectively over all the other forces and sudden loud interjections questioning from the second choir – a masterpiece in itself. The part of Jesus was taken by Stephan Loges (Bass). Bach always has the strings playing a long high chord whenever Jesus sings, setting him apart from the other singers like a musical 'halo'. Also taking the part of other characters and singing arias were Louise Alder (Soprano), Alexander Chance (Counter-Tenor), Robert Murray (Tenor) and Roderick Williams (Baritone).

The first soprano aria “Ich will dir mein Herze schenken” showed Louise Alder’s bell-like voice to full advantage, accompanied by the oboe d’amore. Then followed the tenor aria “Ich will bei meinem Jesu wachen” with alternating choral passages and Robert Murray effortlessly reaching his top A flat. A bass aria followed but it was not until the Soprano Alto duet “So ist mein Jesus nun gefanken” where the chorus really came alive with their interjections “Bind him not!” and their performance moved into another gear - a prelude to the very exciting “Lightnings and Thunders” which was taken at a furious pace. Part 1 ends with both choirs but with the sopranos of choir 1 shining out with their cantus firmus line.

Part 2 begins with a counter-tenor aria. Heralded by a long 5 bar note with an exquisite slow crescendo, Alexander Chance had the audience spellbound with the quality of his voice which seemed to spur the accompanying chorus to strive to match his example. Peter’s denial and the chorus’s accusations were highly focussed, immediate and alert. In some ways, it was a shame that this energy had not been present right from the start.

The counter-tenor aria “Erbarmedich”. What can I say, it will be hard to find a better rendering in any recording than Alexander Chance’s and for this number alone, the audience would be satisfied. Of special note too must be the fine virtuoso violin solo played by Penelope Spencer which accompanied the bass aria “Gebt mir meinen Jesum wieder” finely sung by Roderick Williams.

The chorus, now fired up completely, delivered a terrific “Barabam” – a cluster chord known as the “Devil in Music”- and then later a most sensitive pianissimo “Truly this was the Son of God”.

The chorales were all ably sung by the choir whose soft singing generally was most sensitive and well blended. It is a tribute to the choir’s preparation and dexterity as well as Andrew Lucas’ fine direction that they were able to lift themselves out of this comfort zone so many times to deliver all the other dramatic and complex movements that this work demands. In the magnificent cathedral setting with a line-up of excellent soloists, this could not have been a more fitting performance for the choir’s centenary.

Tony de Rivaz

St Albans Bach Choir & Sinfonia Verdi Rutter Magnificat and Requiem Saturday 11th November 2023

On Armistice Day we were treated to an enthusiastic performance of two of John Rutter’s more substantial works. The St Albans Bach Choir were joined by Sinfonia Verdi in what was a feast of loveliness and memorable tunes that have come to be the hallmark of Rutter’s compositions.

Fresh from performances of the challenging Dvorak and Berlioz Requiems, this was an opportunity for the choir to polish its voice production and perfection of phrasing as, one after another, this heavenly music transported us to a place of comfort.

The soprano soloist Lucinda Cox’s effortless singing, together with some outstanding oboe, flute and cello solos added a quality which lifted the whole performance to another level and left members of the audience silently nodding to their partners – Can this be any more beautiful? – particularly the soprano’s rising final phrases up to the stratosphere.

The Magnificat, conducted by Andrew Lucas, was lively from the start, with deft syncopations. Then, in a moment of quiet reflection, the 15th Century words “Of a Rose, a lovely Rose” demonstrated the fine sonority of the singers. The crash of cymbals and the loud organ played by Richard Pinel announced the Quia Fecit, each voice part singing the plainsong melody in turn. Then the soprano soloist took over in the Et Misericordia echoed by the choir in what was the first of the memorable tunes that the audience will recall later. Finally there is a recapitulation of the joyful Magnificat theme.

The cross rhythms of the Fecit Potentiam were menacingly delivered by the lower parts and the Esurientes in triple time set the soprano soloist alongside the choir with beautifully played flute and oboe solos. The Gloria Patri began with a choral fanfare before retreating into the more reflective Sancta Maria soprano solo, before building to a powerful conclusion to the work.

After the interval the mood changed as the foreboding chords and the steady drum beat introduced the Requiem conducted by the composer himself. The second movement Out of the Deep begins with a long cello solo played beautifully by Miriam Lowbury. The choral writing here definitely gives a sense that Rutter has drawn on various influences to make his Requiem a work with a great depth of passion. The choir were at their best with this story telling. It being Armistice Day and with so many continuing conflicts ongoing in the

world, the plea “Lord Hear my Voice” was doubly heartfelt.

Again, the soprano Lucinda Cox delighted the audience with her sensitively delivered Pie Jesu putting this sublime version surely amongst the greats of Fauré and Duruflé. The joyful Sanctus with sleigh bells ringing gave way to the foreboding Agnus Dei introduced by the tenors and altos.

The penultimate movement The Lord is my Shepherd is a pastoral pause where we were transported once more by the obligato oboe solo, beautifully played by Emma Feilding, with the rippling harp accompaniment.

As the work drew to a close we yearned to hear the soprano soloist just once more and, on cue, she soared above the choir in a full octave scale up to a top B flat – “They Rest from their Labours”. Finally, the Lux Aeterna and recapitulation of the initial Requiem theme brought this sumptuous work to a peaceful close and to rapturous applause.

Review: St Albans Bach Choir & Sinfonia Verdi Dvořák Requiem St Albans Cathedral, Saturday 25 March 2023

The word Requiem makes the average concert goer or avid listener to Classic FM leap for the exquisite sounds of the Fauré or the crashing drums of the Verdi, or the finely crafted movements of the Mozart. For singers too, these oft repeated works are like old friends. But here we were on a damp Saturday night in St Albans Cathedral presented with Dvořák’s seldom-performed Requiem.

To tackle this work was a bold decision by the conductor Andrew Lucas but one which he and St Albans Bach Choir will no doubt remember as a high point. Together with Sinfonia Verdi, an ensemble that draws from some of the finest instrumentalists in the area and top flight vocal soloists, we were treated to a memorable concert.

As soon as the choir sang their first phrases with effective and closely observed dynamics, we knew that we were in the presence of a well-rehearsed and responsive chorus.

The four soloists were Ailish Tynan (Soprano), Jess Dandy (Contralto), Sam Furness (Tenor) and Piran Legg (Bass). They shone in their solo numbers and the blend of their voices when they sang together was superb.

The Requiem was performed in two parts with a short interval in between. The first part is an image of the Last Judgement and has eight movements whilst the second part has five movements, conveying an atmosphere of solace and conciliation.

Especially notable moments in the first half included Ailish Tynan’s ringing voice filling the cathedral in a soulful and passionate rendering of the In Memoriam, and the reprise of the Dies Irae, Dies Illa – incredibly exciting as it thundered towards the satisfying E major resolution. This is choral writing at its most spectacular.

The complex and sprightly fugue Quam Olim Abrahae was a highlight of the second half,

and its repeat following the serene Hostias was even more exhilarating as it raced to its triumphant conclusion.

The powerful final movement Agnus Dei brought all the forces together as a fitting conclusion to the whole work and, following the brief Et Lux Perpetua climax, the work closed with a pianissimo woodwind chord. When the notes had died away there were a few moments of palpable silence before the enthusiastic applause .

This is a work that could not have been contemplated immediately after the Covid period when singers were lacking stamina after a long period without the opportunity to perform. It is a credit to the choir and to Andrew Lucas that they were able to keep their voices, their energy and concentration going right to the end for what was an elevating experience for the audience.

Tony de Rivaz