November 2017

After the excitement of our recent concert at York Barbican we are straight back into rehearsals for our Christmas concert. This will be held at the St Lawrence Parish Church on Saturday the 9th of December at 4pm. A wonderful way to get you in the Christmas mood.

Review – Simple Gifts York Barbican 28th October 2017

Review: York Musical Society Choir & Orchestra; York Barbican, October 28
Martin Dreyer
Baritone John Holland-Avery

THERE’S nothing like a good wallow in folk music. Those songs and dances that are in our blood need to be allowed to surface occasionally. So last Saturday’s programme of Vaughan Williams, Holst and Rutter, with some chirpy Americana from Copland for good measure, was just what the doctor ordered.

After more than a century of struggling with York Minster’s slippery acoustic, York Musical Society (YMS) has now appeared twice at the Barbican. Let us hope the move becomes permanent, large sacred works aside. Sightlines, acoustic, warmth, comfort, refreshments are all vastly better there. It lacks only an organ.

Both choir and orchestra sounded more relaxed here. Weighing in at exactly 100 voices, the choir showed a new level of commitment, spurred by David Pipe’s decisive baton. Words were better projected, too. Only in some mildly dicey sections of three of Holst’s Hymns from the Rig Veda did diction falter. The early sense of mystery yielded to a beautifully lyrical vision of paradise; its finale was underwhelming but the brass fanfare compensated brilliantly.

The evening, honouring Francis Jackson’s 100th birthday, opened briskly with Vaughan Williams’ English Folk Song Suite and later reverted to his Fantasia on Greensleeves, in which flute and harp solos were succulent. John Holland-Avery brought a witty baritone to the Copland arrangements.

Deft mood changes marked Rutter’s cycle The Sprig Of Thyme, where The Willow Tree and Afton Water were especially poignant, with wry touches throughout from the woodwind principals.

Simple Gifts Review

Dr Francis Jackson attended our concert dedicated to his 100th birthday celebrations. He is shown here with David Pipe and Richard Shephard. 

September 2017

We are now taking bookings for the ever popular Choral Workshop which is themed around Famous Operatic Choruses.

There is a section under the Concerts and Events tab, or go straight to the Eventbrite booking page via this link.

Book early as this is a very popular event and often sells out.

Summer 2017 update

After our packed Mozart concert at York Minster on 24th June 2017, we are enjoying a well-earned rest over the summer and looking forward to another exciting year. Before rehearsals begin, however, we are fundraising at St Crux, The Shambles, York, on Friday 4th August. Come along for bric-a-brac, books and lots of home-made cakes (for which YMS is well-known!). Please come and support us.

 

CONCERT REVIEW: Brahms Requiem

York Musical Society and Philharmonischer Chor Münster, York Minster, 12 November 2016

Review by Claire McGinn

Situated directly between Armistice Day and Remembrance Day, and dedicated to the memory of long-standing YMS supporter Donald Barron, this concert saw York Musical Society joined by visiting ensemble Philharmonischer Chor Münster.

As always, contact between choir and director David Pipe was good, and entries were clear. The added challenge of the Minster’s acoustic, within quicker phrases, was a little disruptive elsewhere – but in the swirling mists of Vaughan Williams’s Toward the Unknown Region it was effective.

Richard Shephard replaced Pipe for Strauss’s Four Last Songs with soprano Jenny Stafford. Although the relentlessly rich colours started to blur after a while, the interpretation was subtly sensitive.

Baritone David Stout’s delivery was emphatic, and Stafford’s delicate high notes sublimely tasteful, in Brahms’s Ein deutsches Requiem under Pipe.

Wie lieblich sind deine Wohnungen, the well-loved fourth movement, is often taken indulgently slowly, which can detract from its inherent tenderness. Happily, the positive pace here maintained expressiveness without wallowing (or drowning in the Minster’s generous acoustic).

The reassuring mutual confidence between director and ensemble was made clear by how quickly and coolly they got back on track at the handful of moments when timing or tuning slipped.

The programme notes recalled that a YMS performance demonstrated a century ago that this work ‘transcended’ war and politics and was ‘the common possession of the whole world’. Both the message and the group’s love of the piece are alive and important today.

Reproduced by kind permission of the Press 14/11/16

100-year-old link renewed

Throughout World War I, York Musical Society (YMS) sang Brahms’ German Requiem in the Minster every November because of its beauty, humanity and the comfort of its words and music. On 12 November this year, this link with the past will be renewed when YMS is joined by the Münster Philharmonischer Chor, from York’s German twin city of Münster, for a performance. It will again be sung in the Minster with the two choirs.

The concert is dedicated to Sir Donald Barron, who died last Christmas. He had been a member of YMS since 1953 and later became a very supportive patron, as well as playing a key role in many York organisations. His family are sponsoring the performance in his memory.

The Requiem does not use the usual words of the Latin Requiem Mass. Instead, Brahms chose other words from both the Old and New Testaments of the Bible to comfort the bereaved. It is believed that Brahms wrote part of his Requiem after the attempted suicide of a close friend and most of the rest after the death of his own mother. It was first performed in 1868.

The evening will include Richard Strauss’ moving Four Last Songs, also sung in German. The songs, written for soprano soloist and orchestra, were composed just a year before Strauss’ death but were not actually performed until a year afterwards in 1949.

The programme will be completed by Toward the Unknown Region. Set for choir and orchestra by much-loved English composer Ralph Vaughan Williams, it uses words by American poet Walt Whitman. Vaughan Williams’ music ideally complements Whitman’s words of visionary hopefulness.

Conductor David Pipe says: “The combined forces of the York and Münster choirs will offer a wonderful palette of dynamic and tonal resources to exploit fully the huge variety and emotion in Brahms’ Requiem, and equally the sense of mystery and power in Vaughan Williams’ evocative Toward the Unknown Region.”

The performance will be at 7.30 p.m. on Saturday 12 November 2016 at York Minster.

 NEWS RELEASE FROM YORK MUSICAL SOCIETY

 Date   19 October 2016

CONCERT REVIEW: Orff – Carmina Burana

Review in York Press

York Musical Society, York Barbican, June 11, 2016

Review by Claire McGinn

A short first half of Brahms comprised Geistlicheslied for piano and chorus, followed by the high-spirited Zigeunerlieder for solo soprano, alto, tenor and bass quartet. Kirsty Hopkins, Kate Symonds-Joy, Greg Tassell, and Andrew Mayor made the most of this light-hearted collection.

The second half – the main event – was a hugely enjoyable ride on the rollercoaster of Carl Orff’s vivacious Carmina Burana. Entries were confident and (despite one or two minor hiccups) ensemble, dynamics, and connection with director David Pipe were impressively consistent and accurate; no mean feat for such a large group.

Expertly accompanied by pianists Polly Sharpe and Nico de Villiers, along with six percussionists, the choir took this challenging work in their stride. York Junior Youth choir supported the group with enthusiasm, seizing their moment to shine alongside Hopkins in the irresistible Amor Volat Undique.

Tricky corners – exposed pianissimo high notes for the upper voices and fast-paced syllabic patter in Latin – were generally negotiated with style and ease.

Baritone Njabulo Madlala’s assured and expressive falsetto in Dies, Nox Et Omnia was no less arresting than his tempestuous delivery of the fiery Estuans Interius.

A notable highlight was Tassell’s appropriately sinister but unusually glamorous “roasted swan”. Dressed in white, replete with wings, face paint and feather boa, Tassell appeared from behind the audience for this morbid serenade and mimed turning a roasting spit before running dramatically offstage.

The ensemble’s exuberant performance matched the irrepressible ebullience of the work; the rapturous audience reception was well deserved.

Reproduced by kind permission of The Press

CONCERT REVIEW: Mozart Mass in C Minor, Carter Benedicite

Review in York Press

York Musical Society, York Minster, March 20, 2016

Mozart’s Mass in C minor is a rarity. It would be given much more often if only he had finished it. So it was a real treat to hear in York, not least with two soprano soloists of exceptional calibre.

Haydn’s Representation of Chaos and Andrew Carter’s colourful Benedicite were performed ahead of it in Saturday’s programme conducted by David Pipe.

What remains of the mass after only half a Credo and no Agnus Dei is still Mozart at his best. York Musical Society clearly thought so too. The choir, with sopranos in particular sounding rejuvenated, delivered a majestic Gratias Agimus, a truly penitential Qui Tollis and plenty of welly to close the Gloria.

Only the fugal Osanna lacked definition. The orchestra provided sterling support throughout, the strings working tirelessly.

Anita Watson negotiated the wide leaps of Christe Eleison with aplomb, and her lithe soprano was entrancing at Et Incarnatus. Mezzo-soprano Esther Brazil made an exciting impact with her coloratura in Laudamus Te, and teamed smoothly with Watson in the turbulence of Domine Deus.

The York Civic and York Junior Youth Choirs joined YMS for the non-liturgical parts of the Carter work, introducing amusing characters “that Noah forgot to mention”, such as badgers, butterflies and grannies.

The combined choirs captured the music’s overall reverence well, but words were too often indistinct despite – a definite bonus – being in the printed programme. It remained for the orchestra to paint the work’s brightest hues.

Review by Martin Dreyer