In Meinem Lieben, In Meinem Lied
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Concert programme
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Brandenburg State Youth Choir:
Muusika - P. Uusberg Stetit angelus - R. Dubra Song of praise - K. Nystedt Selig sind die da Leid tragen - H. Herzogenberg Breathe - M. Colie Love’s Philosophy - C. McDowall Chantage: St Godric's Hymn - Benjamin Britten Ich Bin der Welt abhanden gekommen - Gustav Mahler The Choirmaster's Burial - Mårten Jansson Chili Con Carne - Anders Edenroth --- INTERVAL --- |
Brandenburg State Youth Choir :
Brautgesang - R. Schumann Der Traum - R. Schumann Zahnweh - R. Schumann Der Wassermann - R. Schumann Luci serene i chiari - G. di Venosa Rivers of light - E. Ēšenvalds Chantage: Pulchra es et decora - Kim Porter O Sacrum Convivium - Olivier Messiaen There is an Old Belief (from Songs of Farewell) - C. Hubert H. Parry Organ Fugue - J.S. Bach arr. Ward Swingle Joint piece Advance Democracy – Benjamin Britten |
Programme notes
Brandenburg State Youth Choir
Muusika – Pärt Uusberg
Pärt Uusberg is a contemporary Estonian composer and conductor whose choral works are deeply rooted in the spiritual and poetic traditions of his homeland. “Muusika” sets a text by Juhan Liiv, one of Estonia’s most revered poets, whose writing often explores the mystical and transcendent qualities of nature and silence.
The piece is a meditation on the nature of music itself — its purity, its power to heal, and its mysterious origin. Uusberg’s setting is characterised by shimmering cluster chords and a slow, unfolding harmonic rhythm that invites the listener into a space of contemplation. It is music that seems to breathe.
Pärt Uusberg is a contemporary Estonian composer and conductor whose choral works are deeply rooted in the spiritual and poetic traditions of his homeland. “Muusika” sets a text by Juhan Liiv, one of Estonia’s most revered poets, whose writing often explores the mystical and transcendent qualities of nature and silence.
The piece is a meditation on the nature of music itself — its purity, its power to heal, and its mysterious origin. Uusberg’s setting is characterised by shimmering cluster chords and a slow, unfolding harmonic rhythm that invites the listener into a space of contemplation. It is music that seems to breathe.
Stetit Angelus – Rihards Dubra
Latvian composer Rihards Dubra is known for his deeply spiritual choral music, often inspired by Catholic liturgy and mysticism. “Stetit Angelus” is a radiant setting of a Latin text describing the angel standing at the altar with a golden censer.
Dubra’s harmonic language blends Baltic minimalism with rich Romantic textures, creating a sense of awe and reverence. The piece builds from quiet stillness to a glowing climax, evoking the presence of the divine through music that feels both ancient and immediate.
Latvian composer Rihards Dubra is known for his deeply spiritual choral music, often inspired by Catholic liturgy and mysticism. “Stetit Angelus” is a radiant setting of a Latin text describing the angel standing at the altar with a golden censer.
Dubra’s harmonic language blends Baltic minimalism with rich Romantic textures, creating a sense of awe and reverence. The piece builds from quiet stillness to a glowing climax, evoking the presence of the divine through music that feels both ancient and immediate.
Song of Praise – Knut Nystedt
Norwegian composer Knut Nystedt (1915–2014) was a towering figure in Scandinavian choral music. A devout Christian, he often drew on biblical texts and Gregorian chant in his compositions, fusing them with modern techniques.
“Song of Praise” is a jubilant work that showcases Nystedt’s signature use of rhythmic vitality and harmonic colour. The piece is built on a series of ascending motifs, giving the impression of voices lifting heavenward in exultation.
Norwegian composer Knut Nystedt (1915–2014) was a towering figure in Scandinavian choral music. A devout Christian, he often drew on biblical texts and Gregorian chant in his compositions, fusing them with modern techniques.
“Song of Praise” is a jubilant work that showcases Nystedt’s signature use of rhythmic vitality and harmonic colour. The piece is built on a series of ascending motifs, giving the impression of voices lifting heavenward in exultation.
Selig sind die da Leid tragen (from Liturgische Gesänge) – Heinrich von Herzogenberg
A contemporary of Brahms and a devout Lutheran, Heinrich von Herzogenberg (1843–1900) composed his “Liturgische Gesänge” as part of a broader effort to revive sacred music in the German Protestant tradition.
“Selig sind die da Leid tragen” (“Blessed are those who mourn”) is a tender and consoling setting of the Beatitudes. With its gentle counterpoint and restrained emotion, the piece offers solace and quiet dignity — a musical balm for the grieving heart.
A contemporary of Brahms and a devout Lutheran, Heinrich von Herzogenberg (1843–1900) composed his “Liturgische Gesänge” as part of a broader effort to revive sacred music in the German Protestant tradition.
“Selig sind die da Leid tragen” (“Blessed are those who mourn”) is a tender and consoling setting of the Beatitudes. With its gentle counterpoint and restrained emotion, the piece offers solace and quiet dignity — a musical balm for the grieving heart.
Breathe – Margot Colie
Margot Colie is a young American composer whose work often explores themes of mental health, identity, and resilience. “Breathe” is a contemporary choral piece that uses extended vocal techniques and layered textures to evoke the act of breathing — both literal and metaphorical.
The music moves through phases of tension and release, mirroring the emotional journey of anxiety and calm. It is a poignant reminder of the power of breath, and of music, to ground us in the present moment.
Margot Colie is a young American composer whose work often explores themes of mental health, identity, and resilience. “Breathe” is a contemporary choral piece that uses extended vocal techniques and layered textures to evoke the act of breathing — both literal and metaphorical.
The music moves through phases of tension and release, mirroring the emotional journey of anxiety and calm. It is a poignant reminder of the power of breath, and of music, to ground us in the present moment.
Love’s Philosophy (for a cappella mixed chorus) – Cecilia McDowall
British composer Cecilia McDowall has a gift for setting poetry with clarity and sensitivity. “Love’s Philosophy” is a radiant a cappella setting of Percy Bysshe Shelley’s famous poem, which draws on images of nature to argue for romantic union.
McDowall’s music dances with rhythmic energy and lyrical charm, capturing both the poem’s persuasive wit and its underlying passion.
British composer Cecilia McDowall has a gift for setting poetry with clarity and sensitivity. “Love’s Philosophy” is a radiant a cappella setting of Percy Bysshe Shelley’s famous poem, which draws on images of nature to argue for romantic union.
McDowall’s music dances with rhythmic energy and lyrical charm, capturing both the poem’s persuasive wit and its underlying passion.
Chantage
St Godric's Hymn (from Sacred and Profane: Eight Medieval Lyrics Op.91 no.1) - Benjamin Britten
Composed in 1975, just one year before Britten’s death, Sacred and Profane comprises eight lyrics based on medieval English poems, each set in their original archaic language, and arranged in a deliberate juxtaposition of secular and sacred pieces.
This Hymn to the Virgin Mary, is characterised by its use of descending glissandi, rising chords, and modal inflection.
The words are from a monophonic religious song of the mid-12th century, amongst the earliest English-language lyrics to survive with their melodies, known as Godric’s Hymn. Their composer, St. Godric (ca. 1070/80–1170), wrote it some time after he retired to a hermitage at Finchale, north of Durham, following a career as a merchant trader and ship’s captain. Godric’s life as a hermit was one of ascetic hardship, punctuated by visions in which several songs were taught to him; he later sang them to his future biographers.
Despite his frustration at his reduced working hours and at how long everything was taking him to write out, Britten did not take death lying down. While working on Sacred and Profane in 1975, he would insist to an over-sympathetic friend that “there is life in this poor old dog still.” He would continue to attend public functions, dressed smartly in his favourite velvet smoking jacket, until November the following year – unhooking himself from his oxygen tank and wandering downstairs to host a final birthday champagne party.
He died shortly afterwards, at the age of sixty-three, of complications brought on by bacterial endocarditis – the same condition that, coincidentally, had killed Mahler sixty years earlier.
Sainte Marye Virgine,
Moder Jesu Christes Nazarene,
Onfo, schild, help thin Godric,
Onfang, bring heylich with thee in Godes Riche.
Sainte Marye, Christes bur,
Maidenes clenhad, moderes flur,
Dilie min sinne, rix in min mod,
Bring me to winne with the self God.
St. Mary, the Virgin,
Mother of Jesus Christ of Nazareth,
Receive, defend and help thy Godric,
(and,) having received (him,)
bring (him) on high with thee in God's Kingdom.
St. Mary, Christ's bower,
Virgin among maidens,
flower of motherhood,
Blot out my sin, reign in my heart,
(and) bring me to bliss
with that selfsame God.
Composed in 1975, just one year before Britten’s death, Sacred and Profane comprises eight lyrics based on medieval English poems, each set in their original archaic language, and arranged in a deliberate juxtaposition of secular and sacred pieces.
This Hymn to the Virgin Mary, is characterised by its use of descending glissandi, rising chords, and modal inflection.
The words are from a monophonic religious song of the mid-12th century, amongst the earliest English-language lyrics to survive with their melodies, known as Godric’s Hymn. Their composer, St. Godric (ca. 1070/80–1170), wrote it some time after he retired to a hermitage at Finchale, north of Durham, following a career as a merchant trader and ship’s captain. Godric’s life as a hermit was one of ascetic hardship, punctuated by visions in which several songs were taught to him; he later sang them to his future biographers.
Despite his frustration at his reduced working hours and at how long everything was taking him to write out, Britten did not take death lying down. While working on Sacred and Profane in 1975, he would insist to an over-sympathetic friend that “there is life in this poor old dog still.” He would continue to attend public functions, dressed smartly in his favourite velvet smoking jacket, until November the following year – unhooking himself from his oxygen tank and wandering downstairs to host a final birthday champagne party.
He died shortly afterwards, at the age of sixty-three, of complications brought on by bacterial endocarditis – the same condition that, coincidentally, had killed Mahler sixty years earlier.
Sainte Marye Virgine,
Moder Jesu Christes Nazarene,
Onfo, schild, help thin Godric,
Onfang, bring heylich with thee in Godes Riche.
Sainte Marye, Christes bur,
Maidenes clenhad, moderes flur,
Dilie min sinne, rix in min mod,
Bring me to winne with the self God.
St. Mary, the Virgin,
Mother of Jesus Christ of Nazareth,
Receive, defend and help thy Godric,
(and,) having received (him,)
bring (him) on high with thee in God's Kingdom.
St. Mary, Christ's bower,
Virgin among maidens,
flower of motherhood,
Blot out my sin, reign in my heart,
(and) bring me to bliss
with that selfsame God.
Ich Bin der Welt abhanden gekommen - Gustav Mahler
Gustav Mahler (1860 –1911) was a late-Romantic Austrian composer and one of the leading conductors of his generation. A Jew, he was born in the village of Kalischt, Bohemia, in what was then the Austrian Empire.
As a composer, Mahler acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners.
This is the third and undoubtedly the most famous song in Gustav Mahler‘s cycle of five Rückert Lieder, settings of poems by Friedrich Rückert.
Ich bin der Welt abhanden gekommen,
Mit der ich sonst viele Zeit verdorben,
Sie hat so lange nichts von mir vernommen,
Sie mag wohl glauben, ich sei gestorben!
Es ist mir auch gar nichts daran gelegen,
Ob sie mich für gestorben hält,
Ich kann auch gar nichts sagen dagegen,
Denn wirklich bin ich gestorben der Welt.
Ich bin gestorben dem Weltgetümmel,
Und ruh’ in einem stillen Gebiet!
Ich leb’ allein in meinem Himmel,
In meinem Lieben, in meinem Lied!
I am lost to the world
with which I used to waste so much time,
It has heard nothing from me for so long
that it may very well believe that I am dead!
It is of no consequence to me
Whether it thinks me dead;
I cannot deny it,
for I really am dead to the world.
I am dead to the world’s tumult,
And I rest in a quiet realm!
I live alone in my heaven,
In my love and in my song!
Gustav Mahler (1860 –1911) was a late-Romantic Austrian composer and one of the leading conductors of his generation. A Jew, he was born in the village of Kalischt, Bohemia, in what was then the Austrian Empire.
As a composer, Mahler acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners.
This is the third and undoubtedly the most famous song in Gustav Mahler‘s cycle of five Rückert Lieder, settings of poems by Friedrich Rückert.
Ich bin der Welt abhanden gekommen,
Mit der ich sonst viele Zeit verdorben,
Sie hat so lange nichts von mir vernommen,
Sie mag wohl glauben, ich sei gestorben!
Es ist mir auch gar nichts daran gelegen,
Ob sie mich für gestorben hält,
Ich kann auch gar nichts sagen dagegen,
Denn wirklich bin ich gestorben der Welt.
Ich bin gestorben dem Weltgetümmel,
Und ruh’ in einem stillen Gebiet!
Ich leb’ allein in meinem Himmel,
In meinem Lieben, in meinem Lied!
I am lost to the world
with which I used to waste so much time,
It has heard nothing from me for so long
that it may very well believe that I am dead!
It is of no consequence to me
Whether it thinks me dead;
I cannot deny it,
for I really am dead to the world.
I am dead to the world’s tumult,
And I rest in a quiet realm!
I live alone in my heaven,
In my love and in my song!
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The Choirmaster's Burial- Mårten Jansson
When he was aged 20, Jansson studied musicology at Uppsala university and one day was invited to hear Sir Peter Pears present a lecture at Musicum - the home of the university orchestra. Sir Peter talked about Benjamin Britten and had brought a young tenor with him to demonstrate some of Britten's songs since, at that time, Sir Peter was no longer singing. Jansson recalls that Sir Peter was extremely charming and especially remembered the song The Choirmaster's Burial. Apart from finding the song wonderful, Jansson liked the poem, by Thomas Hardy, very much and really wanted to compose a setting of it. It took more than 20 years until Jansson finally had the time and experience to do it in a way that he would be satisfied with. It was worth the wait as, not only is the composer very happy with his setting but it is his Mother’s favourite too. |
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Chili Con Carne - Anders Edenroth
Written for Sweden’s long standing a cappella ensemble The Real Group, Chili Con Carne formed a part of Chantage’s concert repertoire during a trip to the Basque Region for the Tolosa International Choral Competition in 2008.
It features a whole host of complex rhythms supporting a fully working recipe for everyone’s favourite Mexican dish!
Written for Sweden’s long standing a cappella ensemble The Real Group, Chili Con Carne formed a part of Chantage’s concert repertoire during a trip to the Basque Region for the Tolosa International Choral Competition in 2008.
It features a whole host of complex rhythms supporting a fully working recipe for everyone’s favourite Mexican dish!
* * * * * * INTERVAL * * * * * *
Brandenburg State Youth Choir
Brautgesang (from Romanzen und Balladen Op. 146) – Robert Schumann
Composed in 1850, Schumann’s “Romanzen und Balladen” Op. 146 is a collection of part-songs for women’s voices, written during his tenure in Düsseldorf. “Brautgesang” (“Bridal Song”) is a joyful celebration of love and marriage, set to a text by Friedrich Rückert.
The music is light and lyrical, with flowing lines and gentle harmonies that evoke the innocence and hope of a wedding day. It is a charming glimpse into Schumann’s more domestic and tender musical voice.
Composed in 1850, Schumann’s “Romanzen und Balladen” Op. 146 is a collection of part-songs for women’s voices, written during his tenure in Düsseldorf. “Brautgesang” (“Bridal Song”) is a joyful celebration of love and marriage, set to a text by Friedrich Rückert.
The music is light and lyrical, with flowing lines and gentle harmonies that evoke the innocence and hope of a wedding day. It is a charming glimpse into Schumann’s more domestic and tender musical voice.
Der Traum (from Romanzen und Balladen Op. 146) – Robert Schumann
“Der Traum” (“The Dream”) is a wistful miniature that captures the fleeting nature of dreams and memory. Schumann’s setting is delicate and introspective, with subtle shifts in harmony that mirror the poem’s sense of longing and loss.
The piece invites the listener into a quiet reverie, where past and present blur, and where music becomes a vessel for emotion too fragile to name.
“Der Traum” (“The Dream”) is a wistful miniature that captures the fleeting nature of dreams and memory. Schumann’s setting is delicate and introspective, with subtle shifts in harmony that mirror the poem’s sense of longing and loss.
The piece invites the listener into a quiet reverie, where past and present blur, and where music becomes a vessel for emotion too fragile to name.
Zahnweh (from 5 Lieder von Robert Burns Op. 55) – Robert Schumann
Schumann’s Op. 55 sets five poems by Robert Burns in German translation, offering a delightful cross-cultural musical exchange. “Zahnweh” (“Toothache”) is a humorous lament, full of mock-heroic drama and exaggerated suffering.
The music is playful and ironic, with sudden dynamic shifts and comic timing that bring Burns’ wry humour to life. It’s a rare example of Schumann’s lighter side — and a reminder that even great composers get toothaches.
Schumann’s Op. 55 sets five poems by Robert Burns in German translation, offering a delightful cross-cultural musical exchange. “Zahnweh” (“Toothache”) is a humorous lament, full of mock-heroic drama and exaggerated suffering.
The music is playful and ironic, with sudden dynamic shifts and comic timing that bring Burns’ wry humour to life. It’s a rare example of Schumann’s lighter side — and a reminder that even great composers get toothaches.
Der Wassermann (from 6 Romanzen for women’s voices Op. 91) – Robert Schumann
“Der Wassermann” (“The Water Sprite”) is a dark and atmospheric ballad drawn from German folklore. Schumann’s setting is rich in drama, with undulating rhythms and eerie harmonies that evoke the watery depths and the supernatural.
The piece tells of a mysterious figure who lures a maiden to her doom — a cautionary tale wrapped in hauntingly beautiful music.
“Der Wassermann” (“The Water Sprite”) is a dark and atmospheric ballad drawn from German folklore. Schumann’s setting is rich in drama, with undulating rhythms and eerie harmonies that evoke the watery depths and the supernatural.
The piece tells of a mysterious figure who lures a maiden to her doom — a cautionary tale wrapped in hauntingly beautiful music.
Luci serene e chiare – Carlo Gesualdo
Carlo Gesualdo (1566–1613), Prince of Venosa, is one of the most enigmatic figures in music history. Known both for his intensely chromatic madrigals and for the murder of his wife and her lover, Gesualdo’s music is as emotionally complex as his life.
“Luci serene e chiare” (“Serene and bright eyes”) is one of his more restrained madrigals, though it still features the daring harmonic shifts that make his style so distinctive. The text is a love poem, and Gesualdo’s setting captures its rapture and melancholy in equal measure.
Carlo Gesualdo (1566–1613), Prince of Venosa, is one of the most enigmatic figures in music history. Known both for his intensely chromatic madrigals and for the murder of his wife and her lover, Gesualdo’s music is as emotionally complex as his life.
“Luci serene e chiare” (“Serene and bright eyes”) is one of his more restrained madrigals, though it still features the daring harmonic shifts that make his style so distinctive. The text is a love poem, and Gesualdo’s setting captures its rapture and melancholy in equal measure.
Rivers of Light – Ēriks Ešenvalds
Latvian composer Ēriks Ešenvalds is celebrated for his lush choral textures and evocative use of natural imagery. “Rivers of Light” is inspired by the aurora borealis and incorporates texts from explorers and poets who have witnessed the phenomenon.
The piece includes tuned water glasses and shimmering harmonies that recreate the celestial glow of the northern lights. It is a sonic landscape — vast, mysterious, and full of wonder.
Latvian composer Ēriks Ešenvalds is celebrated for his lush choral textures and evocative use of natural imagery. “Rivers of Light” is inspired by the aurora borealis and incorporates texts from explorers and poets who have witnessed the phenomenon.
The piece includes tuned water glasses and shimmering harmonies that recreate the celestial glow of the northern lights. It is a sonic landscape — vast, mysterious, and full of wonder.
Chantage
Pulchra es et decora - Kim Porter
Words: Song of Solomon 6:4
Kim Porter studied singing and composition at Manchester University. She is a member of The Sixteen and also an Alto with ORA Singers, who commissioned this hauntingly beautiful piece which won the Preis der deutschen Schallplattenkritik in 2024.
A reflection on the plainchant antiphon 'Pulchra es et decora', Porter's use of rich harmonies and rippling melismatic vocal lines make this an impassioned setting of a Marian text.
Pulchra es et decora filia Jerusalem: terribilis ut castrorum acies ordinata.
Thou are beautiful and comely, the daughter of Jerusalem: terrible as an army set in array
Words: Song of Solomon 6:4
Kim Porter studied singing and composition at Manchester University. She is a member of The Sixteen and also an Alto with ORA Singers, who commissioned this hauntingly beautiful piece which won the Preis der deutschen Schallplattenkritik in 2024.
A reflection on the plainchant antiphon 'Pulchra es et decora', Porter's use of rich harmonies and rippling melismatic vocal lines make this an impassioned setting of a Marian text.
Pulchra es et decora filia Jerusalem: terribilis ut castrorum acies ordinata.
Thou are beautiful and comely, the daughter of Jerusalem: terrible as an army set in array
O Sacrum Convivium - Olivier Messiaen
Olivier Messiaen was never reserved about displaying his Roman Catholic identity. His mature style is built primarily on several prominent elements: ecstatic Catholic mysticism, birdsong (Messiaen was an assiduous transcriber), modal harmony, and a rhythmic system that he devised and taught, built on the addition and subtraction of units of pulsation to or from longer regular pulses to create asymmetrical, non-repetitive and, as he put it, “non-retrogradable” metric patterns.
One of France's great organists, he brought the organ's ability to sustain sound at the slowest possible tempo into the realm of the orchestra and chorus. O Sacrum Convivium is a relatively early work, and among Messiaen's briefest utterances. Aside from its absence of birdsong, it provides a good example of the characteristics of his music.
Olivier Messiaen was never reserved about displaying his Roman Catholic identity. His mature style is built primarily on several prominent elements: ecstatic Catholic mysticism, birdsong (Messiaen was an assiduous transcriber), modal harmony, and a rhythmic system that he devised and taught, built on the addition and subtraction of units of pulsation to or from longer regular pulses to create asymmetrical, non-repetitive and, as he put it, “non-retrogradable” metric patterns.
One of France's great organists, he brought the organ's ability to sustain sound at the slowest possible tempo into the realm of the orchestra and chorus. O Sacrum Convivium is a relatively early work, and among Messiaen's briefest utterances. Aside from its absence of birdsong, it provides a good example of the characteristics of his music.
There is an Old Belief (from Songs of Farewell) - C. Hubert H. Parry
Sir Charles Hubert Hastings Parry was an English composer, writer, and teacher. He was influential in the late 19th century revival of English music. At the time of his Songs of Farewell, Parry was president of the “Music in Wartime” committee which he had helped found in 1914 to provide opportunities for professional musicians to serve the war effort by giving concerts in hospitals, camps, and the like. However, according to Herbert Howells, the war was “a scourge that cast a devastating shadow over Parry’s mind and heart.”
The six Songs of Farewell are considered his choral masterpiece and give us a glimpse of this private man who sensed that his own life was drawing to a close.
There is an Old Belief, written for six voices, requires tight dynamic control, and its beautiful text by Scottish literary critic John Gibson Lockhart (1774-1854) spins a vision of life “beyond the sphere of grief.” The work’s ethereal close depicting “eternal sleep” shows why Parry was the most influential choral composer of his generation.
Sir Charles Hubert Hastings Parry was an English composer, writer, and teacher. He was influential in the late 19th century revival of English music. At the time of his Songs of Farewell, Parry was president of the “Music in Wartime” committee which he had helped found in 1914 to provide opportunities for professional musicians to serve the war effort by giving concerts in hospitals, camps, and the like. However, according to Herbert Howells, the war was “a scourge that cast a devastating shadow over Parry’s mind and heart.”
The six Songs of Farewell are considered his choral masterpiece and give us a glimpse of this private man who sensed that his own life was drawing to a close.
There is an Old Belief, written for six voices, requires tight dynamic control, and its beautiful text by Scottish literary critic John Gibson Lockhart (1774-1854) spins a vision of life “beyond the sphere of grief.” The work’s ethereal close depicting “eternal sleep” shows why Parry was the most influential choral composer of his generation.
Organ Fugue - J.S. Bach arr. Ward Swingle
The Swingle Singers have often used this "Organ Fugue BMV 578" as a concert opener. The challenge in singing without a rhythm section is to make the piece swing without the help of the instruments.
The group, directed primarily by Ward Swingle (who once belonged to the famed French vocal group Les Double Six) began as session singers mainly doing background vocals for singers like Charles Aznavour and Edith Piaf. They did some jazz vocals for Michel Legrand, but when he left for Hollywood to do film scores, they were left with boring parts. Swingle cast about for something interesting to do and fell on Bach's Well-Tempered Klavier, which led to their hit album, Bach's Greatest Hits.
The Swingle Singers have often used this "Organ Fugue BMV 578" as a concert opener. The challenge in singing without a rhythm section is to make the piece swing without the help of the instruments.
The group, directed primarily by Ward Swingle (who once belonged to the famed French vocal group Les Double Six) began as session singers mainly doing background vocals for singers like Charles Aznavour and Edith Piaf. They did some jazz vocals for Michel Legrand, but when he left for Hollywood to do film scores, they were left with boring parts. Swingle cast about for something interesting to do and fell on Bach's Well-Tempered Klavier, which led to their hit album, Bach's Greatest Hits.
Brandenburg State Youth Choir and Chantage
Advance Democracy – Benjamin Britten
Written in 1938 for the London Co-operative Society, “Advance Democracy” is Britten’s musical response to the rise of fascism in Europe. With words by poet Randall Swingler, the piece is a call to vigilance and action.
Britten’s setting is urgent and dramatic, with stark contrasts and driving rhythms that reflect the political tension of the time. It is a rare example of overt political engagement in his choral output — and a reminder of music’s power to speak truth to power.
Written in 1938 for the London Co-operative Society, “Advance Democracy” is Britten’s musical response to the rise of fascism in Europe. With words by poet Randall Swingler, the piece is a call to vigilance and action.
Britten’s setting is urgent and dramatic, with stark contrasts and driving rhythms that reflect the political tension of the time. It is a rare example of overt political engagement in his choral output — and a reminder of music’s power to speak truth to power.
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James Davey – Musical Director, Chantage
James Davey is one of the UK's most distinguished and respected young choral directors, in demand for his work as conductor, choral education practitioner, arranger and adjudicator. Formerly the chief choral advisor for the BBC’s sheet music archives, James regularly conducts and prepares choirs for broadcasts on TV and Radio, and he is Director of ChoirFixer Limited, fixing professional ensembles for the entertainment and advertising industries. James is Musical Director for Chantage (winners of the Malta International Choral Competition 2015 and the BBC Radio 3 Choir of the Year Competition 2006), the Chandos Chamber Choir, Amici Cantate, Halstead Choral and 4Tunes, Channel 4 TV’s award-winning staff choir. He is also a conductor for Music In Offices, the Dart Festival Chorus, Cranleigh Choral Week and the Sherborne Summer School of Music. He is also a conducting tutor for the Association of British Choral Directors (ABCD) and Association of Irish Choirs (AOIC) and is on the ABCD's Council of Practitioners, and is a co-founder of the London International Choral Conducting Competition. |
Claudia Jennings - Conductor, Brandenburg State Youth Choir
Claudia Jennings studied Choral and Orchestral Conducting, specializing in Conducting Children and Youth Choirs. She is a prize-winner of the German National Choir Competition 2014 and serves regularly as a juror at choir competitions. Additionally, she has been a guest lecturer at universities and has trained young conductors across Germany. Since 2016, she has been the Artistic Director of the Brandenburg State Youth Choir, with performances in Germany and countries such as China, Vietnam, South Africa, South Korea, and Brazil, among others. Furthermore, Claudia Jennings is the conductor of the Windsbach Girls’ Choir and teaches at the Superior Academy for Church Music in Halle an der Saale. |
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About Chantage
Chantage was formed in 1999 by its Musical Director James Davey, and quickly established itself in London as a stylish and energetic young chamber choir. It draws singers from all over the country and from all walks of life. Strong commitment from its members has helped forge a growing reputation as an outstanding amateur choir with a national reputation. Chantage performs a wide range of repertoire, programming works traditionally performed by English chamber choirs alongside lesser-known works sourced from foreign choral cultures. More recently Chantage has been experimenting with group vocal percussion and other unusual contemporary styles. There is something for everyone at each Chantage performance, and the choir will take on any vocal challenge. The choir supports young composers, regularly premiering new compositions and arrangements, many being written by its members. Chantage also encourages self-improvement through regular workshops, enabling members to learn vocal techniques, and new styles of music. The choir regularly performs across the United Kingdom and collaborates with choirs of all types, particularly school and youth choirs |
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About Brandenburg Youth Choir
The singers of the Brandenburg State Youth Choir come from all regions of the federal state of Brandenburg. The choir meets up to four times a year for rehearsal periods, which usually end with a public concert. The choir has an ambitious repertoire ranging from traditional choral music to sacred and secular literature of all musical epochs. It has received several awards and is featured on a number of CDs. Past concert tours have taken the choir to France, Italy, Lithuania, Vietnam, South Korea, and most recently Brazil in 2024. The choir was founded in 1992 on the initiative of the Brandenburg State Music Council and is supported by the Ministry of Science, Research and Culture of the State of Brandenburg. From its foundation until the end of 2015 it was directed by Prof. Hans-Peter Schurz; since then, Claudia Jennings has conducted the ensemble. |
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Next performances
Chantage
Sunday 5 October 2025, 2.30pm and 6pm
Smith Square Hall, London
Spell Songs: The Choral Songbook
This special concert brings together four vibrant choirs to celebrate the launch of the new Spell Songs Choral Songbook: a collection of fresh arrangements drawn from the acclaimed Spell Songs albums.
Originally commissioned by Folk by the Oak, Spell Songs is a musical response to The Lost Words and The Lost Spells by Robert Macfarlane and Jackie Morris. Blending poetry, folk, and rich instrumental textures, the project is a call to reawaken our connection to the natural world.
The concert features brand-new choral arrangements by Kerry Andrew and Spell Songs’ own Jim Molyneux.
Sunday 5 October 2025, 2.30pm and 6pm
Smith Square Hall, London
Spell Songs: The Choral Songbook
This special concert brings together four vibrant choirs to celebrate the launch of the new Spell Songs Choral Songbook: a collection of fresh arrangements drawn from the acclaimed Spell Songs albums.
Originally commissioned by Folk by the Oak, Spell Songs is a musical response to The Lost Words and The Lost Spells by Robert Macfarlane and Jackie Morris. Blending poetry, folk, and rich instrumental textures, the project is a call to reawaken our connection to the natural world.
The concert features brand-new choral arrangements by Kerry Andrew and Spell Songs’ own Jim Molyneux.
Save the date...
Saturday 13 December 2025, 7pm
Grosvenor Chapel, South Audley Street, London
Chantage Christmas concert
Saturday 13 December 2025, 7pm
Grosvenor Chapel, South Audley Street, London
Chantage Christmas concert