Home
Concerts
Contacts
Sponsors
Reviews
New Members
Concert Reviews
THE DREAM OF GERONTIUS
The notoriously terrible reception received by Elgar’s Dream of Gerontius at its first performance in 1900 led the composer to declare “I always said God was against art”.
But the work quickly established itself, and - as those present at Eton College School Hall on Saturday last week will surely testify, it continues to enthral and captivate audiences.
The performers on this occasion were the Windsor and Eton Choral Society joined by the Eton Festival Orchestra under the baton of Ralph Allwood. The society's approach to the work cast new light upon many corners of this familiar masterpiece. The choir were exemplary in their tonal variety and precision. The closing moments were especially memorable and the beauty of the final Amen served to underline a performance of real depth and commitment.
The chorus were joined by the Rodolfus Choir (a group drawn from the Eton Choral Courses) and their youthful voices formed a perfect complement, particularly in Part 1 around the deathbed of Gerontius - sung by Adrian Thompson - whose singing was superb. He was joined by baritone Julian Empett who provided a suitably solemn priestly figure. In Part 2 the role of the Angel was sung by mezzo soprano Jeanette Ager with great clarity.
The direction from Ralph Allwood was exemplary. His carefully judged tempos during the glorious opening orchestral prelude set the scene superbly for the drama to follow. The packed audience witnessed a very personal and heart-felt interpretation of this greatest of choral works.
Scott Price Slough Observer, 28 March 2008
___________
Handel With Care
Perfect harmonies echoed around an ancient chapel as talented musicians celebrated a special anniversary.
A thrilled audience of more than 400 people enjoyed a rendition of Handel’s Messiah on Saturday night – in the splendid setting of St George’s Chapel, Windsor Castle.
Former rotary president David Shaw was among those fortunate enough to attend the rare event.
He said : “It’s such a great piece of music and many of our members were quite in awe of it.
“The four soloists were superb and the Windsor and Eton Choral Society proved it is the best choir in Windsor.” He added: “The chapel was a truly magnificent setting and we feel blessed to have been allowed to have the event there.”
Fflur Wyn (soprano), Louise Poole (mezzo-soprano), William Townend (baritone) and Thomas Walker (tenor) were the soloists for the performance of the favourite choral oratorio – part of the celebration of the Windsor Rotary Club’s 75th anniversary.
The Sinfonia Britannica orchestra and the Windsor and Eton Choral Society were conducted by Ralph Allwood, director of music at Eton College, in the spectacular chapel which took 50 years to construct after building began in 1475.
Chapel Clerk, Charlotte Manley, said: “The chapel opens up for 2 concerts to local groups each year – the schools concert in July and one other. This concert was that ‘other’ this year as it is such a special anniversary.”
Andrew van Terheyden Slough Observer, 23 March 2007
___________
VAUGHAN-WILLIAMS Eton College
I CANNOT remember the last time the Tuba Concerto of Vaughan-Williams was performed in this area - if ever?
But after experiencing Leslie Neish's superstar presentation last week in the school hall of Eton College with the Eton Festival Orchestra conducted so well by Ralph Allwood, a second acquaintance cannot come soon enough.
It is a massively enjoyable concerto and last week played with so much courage, conviction and outstanding musicianship by this highly talented virtuoso but above all else highlighted by wonderful communication with his audience.
Surely this is what the finest music making is all about and this tuba virtuoso has it in abundance and more.
For the interest of many, I am advised that his hilarious fun-packed encore simply titled Fnugg is the work of the Norwegian composer Øystein Baadsvik. I am not sure whether the huge ovation at its close was for the composer or soloist. I reckon they both deserved it. But this was only one of the four gems comprising this concert Allwood, the precentor of music at Eton College, has now been the conductor of the Windsor and Eton Choral Society for more than 30 years and one of his finest attributes is his immaculate programming, as well as the authority of his direction.
This sparkling concert was of such a high quality opened by the orchestra with Humperdinck’s overture to his fairytale opera, Hansel and Gretel followed by the choir with one of my favourites, the Fantasia on Christmas Carols by Vaughan- Williams. This had a superb contribution by baritone James Birchall and equally so from soprano Mary Bevan throughout only the second performance in 10 years of Philip Marshall’s resplendent Centenary Cantata. A 10-year gap between performances surely is unfair.
Perhaps the words of poet William Strode, set as its finale, described not only the spirit of the cantata but also the whole of this beautifully conceived concert - Our Souls Consist of Harmony. I could not agree more.
Roy McKay Slough Observer, December 2006
___________
Windsor & Eton Choral Society’s December concert in had strong seasonal overtones without being per se a Christmas programme. The opening item was Engelbert Humperdinck’s Prelude to the opera Hansel and Gretel. It begins with an orchestral arrangement of the famous duet lullaby at the end of Act II. Thereafter come various melodies in the gentle style we associate with the composer – lulling us into forgetfulness of his collaborations with no less a figure than Wagner! It was elegantly played by the “Eton Festival Orchestra”, on whom no information was offered other than the name of the leader.
Next on the programme was Ralph Vaughan Williams famous, though rarely heard Tuba Concerto, written when the composer had turned 80. A boisterous first movement leads up to a cadenza, displaying the instrument’s potential. The Andante sostenuto is marked by a flowing but unsentimental lyricism that allows us relax before the dazzling opening to the final Allegro, with its slightly more wistful cadenza. Throughout it was played with total technical assurance by soloist Leslie Neish. He obliged an enthusiastic audience with an encore demonstrating his wizardry, with double-stopping effects achieved, apparently, by singing into the instrument while playing. He almost succeeded in persuading us of the merits of the tuba as a serious solo instrument. Highly entertaining whatever!
The choir was finally heard in Vaughan Williams Fantasia on Christmas Carols. Here a solo baritone combines with choir and orchestra in full arrangements of three carols, with other carols quoted en passant. Young baritone James Birchall sang with exemplary clarity of diction and projection of sound. The choir, too, responded to what was required of them, notably in “Thus we were heirs”, Come all you worthy gentlemen” and “tidings of joy” – and, most tellingly of all, in the sublime anti-climactic ending to the work.
Their contribution was no less commendable in the final item, Philip Marshall’s Centenary Cantata. This is a formidable work, enjoying only its second performance. Large orchestral forces are skilfully ‘marshalled’ and the choir put through its paces in the strident harmonic writing and vigorous coloraturas. Soprano Mary Bevan impressed with the sheer beauty of her sound, and her ability, other than in the massive final tutti section, to assert herself against the overpowering sound of full choir and orchestra. All praise to conductor Ralph Allwood for training the choir and keeping firm and clear control over the excellent orchestra.
Derek McCulloch Windsor Express, December 2006
___________
SCHUBERT MASS IN A FLAT
MANY years ago, Franz Schubert was described in his time as the most poetic of al musicians. I feel sure that few would disagree with that comment.
However, the problem arising today is that as there is a such a vast quantity of beautiful music available for performance, many of his wonderful compositions can so easily overlooked.
This is all the more reason why the Windsor and Eon Choral Society and especially its eminent musical director, Ralph Allwood, fully deserve our appreciation for its performance of his Mass in A Flat in the Eton College Chapel.
Together with soprano Julie Cooper, mezzo Marianne Vidal, tenor Matthew Vine, baritone William Berger and the Eton Festival Orchestra, led by Paid Manley, its absolutely stunning presentation confirmed without doubt that magnificent quality of Schubert’s music.
From the colossal opening Kyrie of the Mass and its all-embracing Gloria, a so-powerful Credo and Sanctus to its whispered Dona Nobis Pacem finale, this truly magnificent choir, with so much enthusiasm, delivered an extremely impressive performance long to be remembered for the warmth of its impact on a very chilly mid-March evening.
This concert was so well programmed, especially as a companion piece to the Schubert Mass, they could not have chosen a more wonderful piece than Mozart’s Vesperae Solennes de Confessore, which also featured their four well-chosen soloists.
These Vesperae are choral masterpieces in every respect that just never seems to age. There can never be too many performances of this most sublime composition.
Roy McKay Slough Observer, March 2006
___________
Choral delight
NO matter how many times I listen to Rossini’s Petite Messe Solennelle there is always something new to appreciate.
I suppose this is only natural when so few opportunities arise locally to renew an acquaintance with this very warm-hearted choral outburst.
But last week in the Eon College School Hall the Windsor and Eton Choral Society conducted by their music director Ralph Allwood, certainly opened my ears to an alternative presentation of this very beautiful solemn messe.
In fact, it posed the question as to whether two pianos and a harmonium could equal the impact of a full orchestra... well, this society gloriously proved they can.
I must admit that it came as quite a surprise - being in every way so substantially different to the performances I have become used to over the years.
However, it was a pleasure being involved in this quite superb occasion with accompaniment provided by the piano duet of Simon Crawford-Phillips and Philip Moore together with Peter Stevens playing a harmonium built in 1868, the year Rossini died.
In fact, the radiant performance that evolved could not have been more uplifting, especially with the considerable enhancement provided by their guest soloists, soprano Eileen Hulse, contralto Catherine Denley, tenor Joseph Cornwell and bass Steven Varcoe - such a wealth of passion and fine attention to detail throughout their Gloria, Sanctus, Agnus Dei and so very much more. It was a pity that throughout this performance the harmonium was occasionally submerged within all the excitement generated by this fine presentation.
One slight sadness. This most welcome choral concert that was gloriously opened by their two guest internationally renowned pianists playing Debussy’s two piano piece En Blanc et Noire, just came to an end far too quickly. An extra piano piece would have been most welcome.
Roy McKay Slough Observer, December 2005
___________
A WINDSOR Festival without the participation of the Windsor and Eton Choral Society and its conductor Ralph Allwood is unimaginable.
In fact, I have always considered their performance to be one of the many highlights of this innovative local celebration of the art...and long may they continue to be so.
But above all else this is Nelson's year, an appropriate time to honour this mighty hero and also to celebrate his magnificent victory at the Battle of Trafalgar.
And what a wonderful concert these vocalists delivered for our enjoyment last Sunday!
Enhanced by the superb playing of the City of London Sinfonia and a bevy of internationally acclaimed soloists all directed by Ralph Allwood, they could not have given us a more thrilling presentation of Haydn's tremendously popular Nelson Mass in D minor when so hauntingly lovely was its Sanctus.
This was an evening that generated so many pleasures, even more so with the participation of their second conductor, Sian Edwards, who is one of the most outstanding music makers at work today, directing the choir throughout Haydn's Insanae Et Vanae Curae and Mozart's stunningly beautiful Ave Verum Corpus.
Roxanna Panufnik with her wonderfully motivated and stunningly orchestrated/choral setting of Vikram Seth's The Hare And The Tortoise from his Beastly Tales certainly delivered a challenge to her audience. Even though, sadly, I could not capture every word from where I was sitting, what beauties abound throughout her excellent score.
I am sure there will always be differing opinions over her almost operatic composition but I sincerely hope it is given many, many performances after this world premiere. It thoroughly deserves as much exposure as possible.
Surely this is what this excellent Windsor Festival is all about - enjoyment, involvement and communication.
Roy McKay Slough Observer, October 2005
___________
Magnificent and moving
I HAVE never ceased to be amazed by the outstanding quality of the performances given by the Windsor and Eton Choral Society, under the guidance of Ralph Allwood, the Precentor and Director of Music at Eton College.
Even more so, the manner in which they approach and, in many ways, relish many a choral challenge, no matter how difficult they may be.
Well, recently, in the Eton College School Hall, they faced one of their biggest challenges for some time.
It has been a very long time since 1 last had an opportunity to attend a performance of Elgar's oratorio, The Apostles.
So long, in fact, that 1 had completely forgotten just how powerful is the impact generated by this extremely huge choral work which, apart from being scored for a very large orchestra and choir, requires an organist and six vocal soloists.
We can only ponder whether Elgar was a touch too extravagant when composing this most awesome oratorio, which could so easily become a historical curiosity if allowed to do so.
But when we consider its poignant subject matter dealing with the Apostles, the Beatitudes, Mary Magdalene, the heartbreaking Betrayal of Christ, Golgotha and the Ascension, and so much more, together with a truly wonderful score provided by Elgar, who would believe this unique choral masterpiece could ever be allowed to gather dust.
No words of praise are substantial enough to honour the magnificent contribution throughout by this so well rehearsed choir. Its prologue and their opening chorus, 'The Spirit of the Lord is upon me', set the seal on everything they were called upon to deliver, and their final Mystic chorus and Alleluia just shattering in their intensity.
Their soloists could not have been more appropriately chosen. Every one had something special to give on this occasion. Soprano Sarah Redgwick as The Blessed Virgin, and Jeanette Ager, portraying Mary Magdalene, were just absolutely wonderful, as was the outstanding Judas portrayal from Julian Close and tenor Paul Hopwood as St John.
Bass, Richard Strivens, as this oratorio's Jesus, and bass/baritone Alex Ashworth as Peter, together provided several of the huge emotional highlights of this whole presentation., especially Peter's declaration to Jesus, 'Thou art the Christ, the Son of the Living God' and the reply he received from Jesus ‑ a heartfelt climatic moment among so many.
But one thing is certain; the school hall could scarcely comfortably contain all the participants of this towering emotional Passion as well as an audience.
The Eton Festival Orchestra, led by Levine Andrade, also deserves the highest praise. It was excellent but when the timpani and brass sections fully added their weight to the proceedings, it was just too deafening.
Without any doubt, however, for Ralph Allwood this whole enterprise was a magnificent success.
Roy McKay Slough Observer, March 2004
___________
An early Christmas present
Apart from their choral excellence, one of the pleasurable aspects of the concerts presented by Windsor and Eton Choral Society and their knowledgeable conductor, Ralph Allwood. is the surprises they occasionally include within their forever adventurous programmes.
Their most recent concert in Eton College School Hall was no exception.
It certainly attracted the substantial audience it so well deserved, no doubt motivated by the inclusion of Max Bruch’s Violin Concerto No 1 as a centrepiece to the predominantly choral concert.
Even more attractive was that this highly popular showpiece concerto was played by Ruth Rogers, one of today’s most gifted young violin virtuoso, who delivered a performance enhanced with so much maturity, especially in the central largo movement. It was worth attending this concert for her performance alone.
Over the last few years one of the choral works I have begun to appreciate highly is the Messa di Gloria of Puccini.
It is a most beautiful Mass and on this occasion it was sung so well by the superb choir and its two guest soloists, tenor Huw Rhys-Evans and bass/baritone Daniel Jordan.
It does, however, seem to be a trifle incomplete without also having a soprano or mezzo soloist, and such a pity that the tenor and bass soloists’ individual contributions were not more extensive, such was the quality of their singing on the night
The most wonderful surprise of all, however, was the 25 minute Thirteenth Psalm — How Long O Lord, of Franz Liszt, with its major and fairly extensive solo tenor requirement.
In every way its performance was a huge success, It was certainly a colossal challenge, but one that was met with tremendous enthusiasm and belief by this choir, its tenor participant, Huw Rhys-Evans, the Eton Festival Orchestra led by Levine Andrade, all conducted with authority by Ralph Allwood.
A second opportunity to appreciate this quite awesome prayer cannot come soon enough.
Also all credit to this most happy society because if ever a Christmas present arrived early this year then it was this very special choral presentation.
Roy McKay Slough Observer, December 2004
___________
Drama of a Magnificent Passion
It is seven years since I last had the good fortune to appreciate a performance of Bach’s monumental St Matthew Passion by the Windsor and Eton Choral Society.
But every performance by this most excellent choir of this colossal masterpiece is welcome indeed and welcomed even more when it is being performed in an appropriate ecclesiastic location where it can be an overwhelming, devotional experience.
It was certainly all of that last weekend under the guidance of Ralph Allwood, the Precentor and Director of Music at Eton College .
Let there be no doubt, their 1997 performance in Eton College School Hall was very special, one that enriched my own appreciation, not only of this choral piece but also of so much more music of this grand master.
But last Saturday, in the perfect surroundings and atmosphere of Eton College Chapel, the overall impact of a slightly cut presentation was of awesome proportions.
There were so many outstanding choruses, chorales and interjections, quite stunning in their intensity, provided by this 140 strong choir. In fact several of them were so beautifully sung a repeat would not have gone amiss.
It was an evening that was also highlighted so radiantly by an emotive contribution from the young voices of Lambrook Haileybury School Choir with their director of music, Martyn Ford, a high quality accompaniment from the Sinfonia Britannica, led by Simon Standage, and the added participation of distinguished soloists: a powerful portrayal of Christ by bass Jonathan Arnold and the Evangelist by tenor Matthew Beale, equally enhanced by the memorable eloquence and sensitivity of soprano Charlotte Ellett, alto Alexandra Sherman, tenor Benjamin Hulett and bass Stephen Varcoe.
There were many breathtaking moments – the crowning with thorns, the crucifixion and the death of Christ; sequences when the soloists and accompanying choirs showed the full power of this so dramatic choral work.
In all, the whole of this massive undertaking was nothing less than a magnificent success for Ralph Allwood and this society.
Roy McKay Slough Observer, March 2004
___________
Choral Experts Call The Tune
THE sound of music floated from Eton College on Saturday as 160 voices soared in anticipation of the forthcoming concert of Bach's St Matthew Passion.
Members of Windsor and Eton Choral Society gathered in the music schools to practise under the watchful eyes of legendary choral conductor and former principal of the Royal College of Music, Sir David Willcocks, and Eton College's Music Director, Ralph Allwood (pictured above).
Rosemary Ussher, from the choral society, said: “We sang everything from John Rutter's rocky Heavenly Aeroplane to some Schubert and Bach’s B minor mass.”
The performance of St Matthew Passion will take place on Saturday, March 20 in the Eton College Chapel.
Later, on May 11, a come‑and-sing event is being held to raise money for charity Phone Lesley Aston on 01628 523594 for details.
Slough Observer, February 2004
___________
Grande Messe des Morts
HECTOR Berlioz, celebrating his 200th anniversary this month, wrote this Requiem in 1837 and it was first performed in Paris in December of that year. This performance by the Wokingham Choral Society, the Windsor and Eton Choral Society, the Eton Festival Orchestra and Brass, with Tenor Soloist Huw Rhys-Evans and conducted by Aidan Oliver, was performed to a near capacity audience.
With the excellent accoustics of the cathedral and with the glorious orchestral and brass accompaniment, the 250 voices of the massed choirs bringing out all the drama of the work made the hairs on the back of my neck stand up. What a sound! The Requiem and Kyrie was haunting, the Dies irae was stirring and the unaccompanied Quaerens me was particularly lovely.
The Offertoire was superb, the Hostias was indeed very atmospheric and the Sanctus which followed was excellent, with a stunning tenor solo. The whole piece brought to a most dramatic end with the Agnus Dei. A most enjoyable evening's entertainment.
Tandem - from the Reading Chronicle, December 2003
Singers relish a German challenge
IT was an excellent decision on the part of the Windsor Festival organisers to juxtapose a presentation of Brahm’s ‘Concerto for violin, cello and orchestra’ with a performance of his choral masterpiece ‘Ein Deutsches Requiem’, given last week in St George's Chapel, Windsor Castle.
Because of its rarity, every performance locally of his most beautiful double concerto is to be welcomed wholeheartedly. And this, was fully confirmed by the extensive ovation violinist Tamas Andras and cellist Andrew Skidmore were given at the close of their most excellent performance which was also highlighted by a first class accompaniment from the South Bank Sinfonia, directed by Simon Overand.
My only disappointment, however, with this most authoritative presentation was that in the chapel it is not possible for everyone to visually savour the ongoing virtuosic dynamics of this double concerto.
Sadly, if you are unable to fully view the orchestra and soloists at work then so much is lost, and if ever a double concerto needs the closeness of audience involvement then it is this one.
In full view or not, it was still a pleasure being able to enjoy the playing of these two remarkable soloists.
There is no doubt that time spent in the company of the Windsor and Eton Choral Society and their internationally accomplished conductor, Ralph Allwood, will always be gloriously rewarding. Even more so when they are performing one of the major choral works in the repertoire today, which on this occasion was the ‘German Requiem’ of Brahms.
As I have said many times before, this most dignified choir always appear to relish every challenge thrown its way. I am sure that is why it is so popular locally and last week, the Brahms piece must have set its members a few difficulties as it was performed in German.
Be that as it may, with an extremely fine contribution from guest soloists, soprano Lisa Milne and baritone Christopher Dixon, this requiem was given an outstanding performance and was, in every way, a triumph.
Most certainly, this concert was one of the shining highlights of this year's festival.
Roy McKay Slough Observer, September 2003
___________
Requiem to wake the dead!
SUCH is the popularity of Verdi’s ‘Requiem Mass’ and the Windsor & Eton Choral Society, that it came as no surprise when their performance of this awesome masterpiece attracted a massive audience to the Eton College School Hall last weekend.
A glorious night indeed for this industrious local society, but as many of their audience probably discovered to either their pleasure or discomfort, their thunderous and totally overwhelming presentation was in no way suitable for the faint‑hearted or unprepared.
Verdi is well known for his hugely dramatic operas, and his quite unique operatic Requiem, full of so much passion and radiant music, is no exception. It was a huge success at its first performance in 1874 and has continued to be accepted as one of the finest choral works ever composed.
This society has performed it many times in their long history and on this occasion it was yet another emotional voyage of discovery especially with their eminent conductor, Ralph Allwood, providing a highly personal but positive reading which I felt cast a touch of fresh light here and there on this most demanding score.
There was certainly plenty to enjoy and appreciate. No only the magnificent contribution of the Eton Festival Orchestra, with a prominent contribution from the woodwind, brass and percussion players, but throughout, the whole of this performance was highlighted with some mighty fine singing from the choir.
Their whispering opening Requiem Aeternam so beautifully delivered was a moment to cherish as was their absolutely terrifying Dies Irae ‑ deafening in its proportions ‑ and an emotional Sanctus. Just wonderful as was so much more.
Their four soloists, soprano Jane Webster, mezzo Kathleen Wilkinson, tenor Andrew Carwood and bass Tim Murfin ‑ standing in at very short notice for an indisposed Rodney Clarke ‑ were extremely satisfying.
Perhaps at times we expect too much from the celebrated guest soloists performing with our local choirs. But there are occasions when the soloists blend perfectly with choir and orchestra with the result that the impact of this Requiem can be colossal ‑ and this was one of them.
Roy McKay Slough Observer, March 2003
___________
Courage in abundance
I HAVE never ceased to be amazed at the dedicated commitment and courage of all our local choirs, and this was so apparent throughout a concert given last week in Eton College School Hall by the Windsor and Eton Choral Society.
Courage this fine body of singers proved they have in abundance.
To perform two deeply contrasting and difficult works such as Stravinsky’s ‘Symphony of Psalms’ and Bruckner’s ‘Mass No 2 in E minor’ in the same concert, is a major challenge ‑ not only for this choir but also for their accompanists, the Eton Festival Orchestra, consisting mainly of wind instruments, but with a few string players, harpist and pianist added for the Stravinsky piece.
On this occasion, however, it was an even more demanding challenge for their conductor Aidan Oliver, director of Wokingham Choral Society, who had been invited at extremely short notice to deputize for this choir’s music director Ralph Allwood, who was indisposed through illness.
And this young music maker can rest assured that under his admirable direction this concert was a splendid success.
The Bruckner performance was certainly very impressive, especially its almost whispered and extremely haunting opening Kyrie, followed by so many more equally unforgettable moments.
Bearing in mind the extent of the applause, Stravinsky’s choral masterpiece, the ‘Symphony of Psalms’, so rightly attracted, it obviously pleased many members of the audience. However, as is usual, it probably annoyed a few with its rhythmic barbarities, but does it really matter? This is 20th century music at its very best and I loved every moment of this magnificent performance, especially its almost hypnotic Alleluia, Laudate Dominum finale.
If, after 70 years, this choral piece is still generating mixed opinions, then all the better. At least it is not being ignored.
One thing is certain, a performance of Gounod’s ‘Petite Symphonie’, conducted by Jim Wortley, a senior tutor at Eton College, and played by nine members of the orchestra’s wind and brass sections with a fine solo contribution in the second movement from flautist Phillida Thompson, could not have been more welcome in bringing a touch of lightweight relief to this concert.
Roy McKay Slough Observer, December 2002
___________
Last revised 10 April 2008
Help WECS raise money by accessing your
retailers through
easyfundraising
.org.uk
Sponsor links
