Concert Programme for Spring 2025





Saturday 5th April 2025 at 7 pm

St Albans Cathedral

George Frederic Handel

Messiah - An Oratorio

St Albans Bach Choir

William Fox conductor

Charlotte Bowden soprano

Victoria Simmonds alto

Gwilym Bowen tenor

Felix Kemp bass

Sinfonia Verdi

Tickets

Tickets can be purchased from https://www.stalbanscathedral.org/Event/st-albans-bach-choir-performance-of-handels-messiah

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 marked 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. In July 2024, the Choir was joined by boy and girl choristers and lay clerks from the Cathedral Choir for a magnificent performance of Mozart’s Requiem and Coronation Masses at Andrew’s farewell concert in advance of his retirement this summer as Director of Music at St Albans Bach Choir and at the Abbey.

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

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Concert Programme - Summer 2025

Vivaldi: Gloria, Haydn: Nelson Mass and Purcell: Welcome to all the Pleasures

Saturday 14th June 2025 - St Albans Cathedral at 7 pm











Recent Reviews

Rossini: Petite Messe Solennelle: St Albans Cathedral, Saturday 9th November 2024

This concert was intriguing to the regular supporter of the St Albans Bach Choir on several levels. Firstly because this would be the first concert under the baton of William Fox. Secondly, there was no orchestra to accompany the 150 singers but, instead, just two grand pianos with their lids removed played by Anne Bolt and Tom Winpenny. In addition, and a third point of special interest, a harmonium reputed to be of mid-19th century origin played by the specialist harmonium player Edward Dean – an instrument seldom heard in concert.

To understand this work with its playful operatic arias, its almost tongue-in-cheek accompaniments and the idiosyntrical mock-dramatic use of the harmonium, one needs to understand where Rossini had found himself at the age of 71 when he composed his Petite Messe Solennelle.

After his early productive career in Italy and France in which he had composed no less than 39 operas, including several box-office successes, Rossini was wealthy enough to take early retirement at the tender age of 37. For the next 25 years he had hardly composed anything, taking 10 years to complete his other great religious work Stabat Mater. Then ill-health reduced his output to nil until his second wife Olympe Pelissier, who had nursed him through various illnesses and fearing for his sanity, encouraged him to move back to the outskirts of Paris. Here his health began to improve and, as one commentator at the time said, “he returned to life” and he started composing again. These compositions were mainly for his samedi soirs which were social events to which anybody who was anybody in polite Parisian society would have wanted to be invited. He referred to them as “his sins of old age”.

So the Petite Messe Solennelle was written for only small forces, perhaps just 12 singers including the soloists! It is a tribute to how well William Fox had rehearsed the choir, keeping their much larger forces in check and demonstrating that even a large choral society is capable of succinct precision singing.

The Kyrie begins with a light dance rhythm played on the piano with soft subtle interjections from the harmonium. The choir demonstrated fine sensitive singing as the accompaniment bounced along. In the unaccompanied Christe Eleison they took a moment to adjust to having to sing without the rhythmic percussive underlay from the pianos but finding their form again in the recapitulation of the Kyrie.

The Gloria begins with strident chords and a chorus and then, after a short bass solo, we heard the young quartet of soloists for the first time who blended superbly with each other. The soprano Lucy Cox with her fresh smiling voice, the contralto Bethan Langford with her refined full tone contrasted well with each other particularly in the sensitively sung duet Qui Tollis. The tenor Joshua Owen Mills had a fine voice for his operatic arias, notably his ringing top A at the climax of Domine Deus. Finally, Piran Legg delivered a commanding bass solo Quoniam tu solus Sanctis, his voice carrying to the four corners of the Abbey. The oompa, oompa piano accompaniment with intriguing grace notes and arpeggios must definitely have been designed to humour the Saturday soirée attendees.

The Gloria ends with an extended fugue Cum Sancto Spiritu where again the choir came into their own with finely graded crescendos, pianissimo passages and sforzandos.

After the interval, the choir and soloists reconvened for the Credo which leads to the beautifully sung soprano solo Crucifixus which was over all too soon. Then the dramatic shift of key upwards (by a minor 3rd) to the Et Resurrexit which introduced several contrasting sections including some fine unison singing by the sopranos and altos and ending with another extended fugue Et Vitam Venturi Saeculi - probably the most difficult section for the choir to maintain the lightness and clarity which they achieved – again helped by the superbly played piano underlay. I fancy that it was difficult for the audience not to clap at the end as they no doubt did in the salon at the first performance in 1864.

Then followed the Preludio Religioso. A short ponderous introduction by the piano gives way to a chance for the harmonium to shine and to show how expressive this glorified accordion can be, the technology exploited to the full by Edward Dean. This 8 minute interlude was, in some respects, the chief point of difference of this concert, really bringing home the essence of the circumstances and the intentions of the composer. There followed the most sensitive singing of the Sanctus by the choir and soloists.

The Agnus Dei begins with an unsettling piano motif introducing the contralto soloist with the choir as heavenly angels singing gloriously quiet sustained Dona Nobis Pacem phrases in the background. This was choral singing at its best. Bethan Langford revealed her incredible range, sonorously delivering such passion that we were all greatly moved - Rossini’s final sin. He died two years later. Again, typical of the “joie de vivre” of one of the 19th century’s most colourful composers, after some very soft bird-like chords, the work ended with four bars of fortissimo crashing chords to thunderous applause.

Tony de Rivaz

Review: St Albans Bach Choir & Sinfonia Verdi Mozart Requiem & Coronation Mass: St Albans Cathedral, Saturday 6 July 2024

In the magnificent Cathedral and Abbey Church of St Alban, no less than 220 singers were assembled together with the musicians of Sinfonia Verdi to deliver an evening of Mozart. The St Albans Bach Choir, the boys and girls from both Cathedral Choirs together with the Lay Clerks and the Abbey Singers certainly did not disappoint the packed audience. As well as being the first concert in the choir’s 101st year, it was also the last concert in Andrew Lucas’s almost 27 year tenure as the Music Director. It was fitting too that, amongst the line-up of soloists, were two past choristers of each cathedral choir.

The four soloists were Rowan Pierce (Soprano), Helen Charlston (Contralto), Casper Singh (Tenor) and Marcus Farnsworth (Bass).

The concert started with The “Coronation” Mass which is probably the most popular of Mozart’s settings. Composed in 1779 when Mozart was only 23 it was given this nickname after becoming the preferred music for royal and imperial coronations. Essentially a jolly piece with predictable and pleasing harmonies but with challenging instrumental notation. The choir delivered finely measured sforzandos as it launched into the Kyrie demonstrating from the start that we could expect a clean and confident performance. The soprano and tenor soloists stated their initial solo passages which frame the work, recapitulated at the end of the Agnus Dei as a coda. Their voices resonated the length of the nave, a difficult space to fill acoustically.

The performance continued with the Gloria where the choir and soloists have alternating sections providing light and shade, all delivered at a lively tempo. However, the swaying dance time rhythm of the Benedictus gave us the opportunity to hear the clarity of all the soloists and their easy blend together.

After a short interval we were presented with the well-known and finely crafted movements of Mozart’s Requiem, composed and, indeed, unfinished at the composer’s death at the tender age of 35. The famous 7 bar instrumental introduction featuring the bassoon and basset horns gives way to each voice part entering in turn. After a short soprano solo the chorus returns with Ex Audi in forceful terms later intertwining with the running semiquaver passages of the Dona Eis in what is an altogether a much more sophisticated and complex work than the earlier “Coronation” Mass.

After the recent performance of the Bach St Matthew Passion and the previous year’s challenging Dvořák Requiem, the singers might have expected an easy ride from their conductor with Mozart. But belying the theory that, with age, tempi tend to slow down, with Andrew it appeared to be the opposite as he upped the tempo most notably in the fugue of the Kyrie and then, even more, in the exciting Dies Irae which left the audience breathless with the energy conjured up by the chorus, driving the musicians, both instrumentalists and singers to new heights of dexterity and articulation.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.