The Lark Ascending
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The Blue Bird - Charles Villiers Stanford
English composer Sir Charles Villiers Stanford (1852-1924) set eight of the poems by Mary E. Coleridge, including this well-known work The Blue Bird. He was said to have been deeply affected by Coleridge’s sudden death in 1907. In this tranquil work, Stanford gives the opening words of the poem to the main choir, setting the beauty and stillness of the scene. The sopranos soar above, representing the flight of the bird, rising and falling, ultimately flying off into the blue sky over an unfinished, serene, minor seventh chord. and the swallow (Psalm 84) - Caroline Shaw and the swallow, first performed in 2017, is a setting of Psalm 84. American composer Shaw has spoken of her reflections on the Syrian refugee crisis and of the humanitarian crisis at the southern border of the USA as inspirations for the work: “I really identified with [Psalm 84] because it has to do with finding a home and finding a refuge and a place and sort of celebrating this sense of safety. But also there’s a yearning for a home that feels very relevant today.” References to ‘house’, ‘nest’, and ‘dwelling place’ appear throughout the work. The singers, in eight parts, explore homophonic and antiphonal textures, and introduce an extended vocal technique evoking the autumn rains as the beautiful work fades to a close. |
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Ancient Prairie - Ēriks Ešenvalds
Violin – Elizabeth French
Ancient Prairie is taken from Ešenvalds larger work for choir and orchestra Whispers on the Prairie Wind. It was premiered in 2015. The text is an English translation of a verse by Bai Juyi (772-846), a Tang Dynasty poet. Set to a soaring, lyrical melody passed between choir, semi-chorus and solo violin, we hear the story of two friends parting through a vivid description of the seasons of the ancient prairie.
The Red Violin Caprices: Theme, Variation 1 (Presto), and Variation 5 (Presto, Pesante) - John Corigliano
Violin: Elizabeth French
Notes taken from the composer’s own introduction to the work:
The Red Violin Caprices are derived from Corigliano's music for The Red Violin, which received the 1999 Academy Award for Best Original Score.
These Caprices take the form of a spacious, troubadour-inspired theme and variations. These variations intentionally evoke Baroque, Gypsy, and arch-Romantic idioms as they examine the same materials (a dark, seven-chord chaconne as well as that principal theme) from differing aural viewpoints. The Caprices were created and ordered to reflect the structure of the film, in which Bussotti, a fictional 18th-century violin maker, crafts his greatest violin for his soon-to-be-born son. When tragedy claims wife and child, the grief-stricken Bussotti, in a gesture both ardent and macabre, infuses the blood of his beloved into the varnish of the instrument. Their fates thus joined, the violin travels across three centuries through Vienna, London, Shanghai and Montreal, passing through the hands of a doomed child prodigy, a flamboyant virtuoso, a haunted Maoist commissar, and at last a willful Canadian expert, whose own plans for the violin finally complete the circle of parent and child united in art.
Le Chant des Oyseaulx (Oiseaux) - Clément Janequin
Janequin is perhaps best-known today for his influence in the development of the “Parisian” Chanson – a French-language song popular throughout European courts in the 15th and 16th centuries. Le Chant des Oyseaulx dates from 1520 and is one of his most popular works. Split into five sections, each begins and ends with a recognisable theme. In between the work incorporates soaring lyrical lines and fast rhythmical motifs with each section longer than the last as new birds awake and begin their song. The resulting whimsical piece is a highly entertaining and challenging work to perform and hear alike.
The Turtle Dove - R. Vaughan Williams
Vaughan Williams arranged a full choral version of this piece in 1919, after he discovered the melody in the early 1900s while collecting folksongs around the British Isles. The text is thought to originate in the early 1700s, and also bears striking similarity to a late-18th century Robert Burns’ poem, telling the story of two lovers that vow to remain faithful as one travels far from home.
The Hills - John Ireland
Ireland studied composition under CV Stanford (a composer featured earlier in this evening’s concert). Known for his voice and piano works (for example Sea Fever), his choral works include the beautiful song we sing this evening – The Hills, composed in 1953. Ireland wrote this for A Garland for the Queen, a collection of works by 10 British composers commissioned for the coronation of Queen Elizabeth II. Each of the works set words by 10 contemporary poets of the time. The Hills sets a poem by James Kirkup (1918-2009), celebrating a sense of stillness and consistency of the hills and countryside.
The Ballad of Green Broom - Benjamin Britten
The Ballad of Green Broom is the final of Britten’s Five Flower Songs which were written in 1950 as a 25th wedding gift to Dorothy and Leonard Elmhirst, founders of The Dartington Hall Trust and reportedly keen botanists. This final piece sets an anonymous poem which tells the story of a plant-cutter’s son. Initially thought to be work-shy and lazy, the boy finally gets to work after being woken by his father at midday. His day takes a dramatic turn when he is out working and is ordered to attend a ‘fine house’ and when there receives an unexpected proposal of marriage from the wealthy lady within. The piece, marked at the opening Comminciando hesitando (beginning hesitantly) accelerates throughout. We reach Vivace at the time of the proposal and accelerate again towards the end of the work as the couple reach the church and we hear the wedding bells chime.
The Gallant Weaver - James Macmillan
The Gallant Weaver was first performed in 1997 for the centenary of the University of Paisley. Macmillan sets text by Robert Burns for this beautiful piece, which references the River Cart, local to the weaving town of Paisley. The split soprano parts incorporate vocal inflections and ornamentation based in the rich Scottish folk tradition. The lower parts split into 1st inversion chords at the lower end of the vocal range, creating a sense of stillness. The repetition and echo from part to part helps to create a full and woven texture, perfectly suited to Burns’ poem.
Violin – Elizabeth French
Ancient Prairie is taken from Ešenvalds larger work for choir and orchestra Whispers on the Prairie Wind. It was premiered in 2015. The text is an English translation of a verse by Bai Juyi (772-846), a Tang Dynasty poet. Set to a soaring, lyrical melody passed between choir, semi-chorus and solo violin, we hear the story of two friends parting through a vivid description of the seasons of the ancient prairie.
The Red Violin Caprices: Theme, Variation 1 (Presto), and Variation 5 (Presto, Pesante) - John Corigliano
Violin: Elizabeth French
Notes taken from the composer’s own introduction to the work:
The Red Violin Caprices are derived from Corigliano's music for The Red Violin, which received the 1999 Academy Award for Best Original Score.
These Caprices take the form of a spacious, troubadour-inspired theme and variations. These variations intentionally evoke Baroque, Gypsy, and arch-Romantic idioms as they examine the same materials (a dark, seven-chord chaconne as well as that principal theme) from differing aural viewpoints. The Caprices were created and ordered to reflect the structure of the film, in which Bussotti, a fictional 18th-century violin maker, crafts his greatest violin for his soon-to-be-born son. When tragedy claims wife and child, the grief-stricken Bussotti, in a gesture both ardent and macabre, infuses the blood of his beloved into the varnish of the instrument. Their fates thus joined, the violin travels across three centuries through Vienna, London, Shanghai and Montreal, passing through the hands of a doomed child prodigy, a flamboyant virtuoso, a haunted Maoist commissar, and at last a willful Canadian expert, whose own plans for the violin finally complete the circle of parent and child united in art.
Le Chant des Oyseaulx (Oiseaux) - Clément Janequin
Janequin is perhaps best-known today for his influence in the development of the “Parisian” Chanson – a French-language song popular throughout European courts in the 15th and 16th centuries. Le Chant des Oyseaulx dates from 1520 and is one of his most popular works. Split into five sections, each begins and ends with a recognisable theme. In between the work incorporates soaring lyrical lines and fast rhythmical motifs with each section longer than the last as new birds awake and begin their song. The resulting whimsical piece is a highly entertaining and challenging work to perform and hear alike.
The Turtle Dove - R. Vaughan Williams
Vaughan Williams arranged a full choral version of this piece in 1919, after he discovered the melody in the early 1900s while collecting folksongs around the British Isles. The text is thought to originate in the early 1700s, and also bears striking similarity to a late-18th century Robert Burns’ poem, telling the story of two lovers that vow to remain faithful as one travels far from home.
The Hills - John Ireland
Ireland studied composition under CV Stanford (a composer featured earlier in this evening’s concert). Known for his voice and piano works (for example Sea Fever), his choral works include the beautiful song we sing this evening – The Hills, composed in 1953. Ireland wrote this for A Garland for the Queen, a collection of works by 10 British composers commissioned for the coronation of Queen Elizabeth II. Each of the works set words by 10 contemporary poets of the time. The Hills sets a poem by James Kirkup (1918-2009), celebrating a sense of stillness and consistency of the hills and countryside.
The Ballad of Green Broom - Benjamin Britten
The Ballad of Green Broom is the final of Britten’s Five Flower Songs which were written in 1950 as a 25th wedding gift to Dorothy and Leonard Elmhirst, founders of The Dartington Hall Trust and reportedly keen botanists. This final piece sets an anonymous poem which tells the story of a plant-cutter’s son. Initially thought to be work-shy and lazy, the boy finally gets to work after being woken by his father at midday. His day takes a dramatic turn when he is out working and is ordered to attend a ‘fine house’ and when there receives an unexpected proposal of marriage from the wealthy lady within. The piece, marked at the opening Comminciando hesitando (beginning hesitantly) accelerates throughout. We reach Vivace at the time of the proposal and accelerate again towards the end of the work as the couple reach the church and we hear the wedding bells chime.
The Gallant Weaver - James Macmillan
The Gallant Weaver was first performed in 1997 for the centenary of the University of Paisley. Macmillan sets text by Robert Burns for this beautiful piece, which references the River Cart, local to the weaving town of Paisley. The split soprano parts incorporate vocal inflections and ornamentation based in the rich Scottish folk tradition. The lower parts split into 1st inversion chords at the lower end of the vocal range, creating a sense of stillness. The repetition and echo from part to part helps to create a full and woven texture, perfectly suited to Burns’ poem.
* * * * * * INTERVAL * * * * * *
She Moved Through the Fair - Trad. Arr. TD Noon
She Moved Through the Fair is a traditional Irish folk song which has been recorded and arranged numerous times. The lyrics, which tell of a young couple torn apart by an untimely death, were first published in 1909, but the author is of some debate. The version today, arranged by Timothy Noon, was featured on Chantage’s album My Promise: Music for all weddings.
The Lark Ascending - R. Vaughan Williams arr. Paul Drayton
Violin: Elizabeth French
The Lark Ascending needs little introduction, often topping polls of the UK’s favourite piece of classical music. Vaughan Williams completed a first version of the work in 1914, and the famous solo violin and orchestral version we are used to hearing was first performed in 1921. Composer and conductor Paul Drayton writes of Vaughan Williams’ pragmatic approach to music-making in his introductory notes for this novel 2019 arrangement, and that as “a regular arranger and proponent of musical inclusiveness himself” one may imagine Vaughan Williams “sanctioning a choral backdrop to his lark”.
Drayton takes the words of George Meredith’s poem (the inspiration for Vaughan Williams’ original) as lyrics for the vocal parts, intertwining these with wordless sounds (the wordless chorus that was very much in vogue at the time of the original composition). Drayton notes that “only the extracts quoted at the head of Vaughan Williams’ score have been used, turning out to be a comfortable fit to the existing music without any painful dislocation of words or rhythms.”
Chantage are delighted to be joined by acclaimed violinist Elizabeth French for this work. The opening solo violin cadenza evokes the hovering flight of the lark climbing and climbing. The cadenza returns in the middle and at the end of the work, intertwined with choral episodes firmly rooted in the English folk-song tradition, creating a springtime tableau of woods, brooks, and meadows over which the lark soars.
Drayton writes “I hope that this arrangement of a much-loved work might join a growing list of pieces (Barber’s Adagio, Elgar’s ‘Nimrod’, even various Mahler items) for which choral versions have helped spread their reach further, to new listeners and performers alike.”
Bushes and Briars - R. Vaughan Williams
First published in 1908, Bushes and Briars was first heard by Vaughan Williams in Essex in 1903-4 whilst collecting folksongs from around the British Isles. Bushes and Briars was the first folksong collected, and following this he went on to collect around 800 further songs – including The Turtle Dove heard in the first half of this concert. The British countryside again takes centre stage in the lyrics to this work (the “small birds” and the “lambs”), which tell of unrequited love.
Balloon Tree - Ben See
Ben See is a singer, composer and choir leader based in London. He specialises in new vocal music and community singing. Balloon Tree features on his debut album ‘blink blink’, a collection of imaginative a capella works released in 2022. As written on the composer’s website (bensee.co.uk), “Balloon Tree is a song about imagination. It creates a large textural choral soundscape. The choir is split into two: the text is carried in the middle voice parts, while the higher and lower voices add atmosphere and colour through improvised patterns and sounds.”
Swimming over London - Bob Chilcott
Swimming over London was first recorded by The King’s Singers in 2010. Chilcott collaborated with poet Charles Bennett (b. 1954) for this work. The words are primarily given to the tenor solo who floats over jazz harmonies and textures in the choral part, narrating a trip through the London sky. We fly over the sleeping streets (“a taxicab slumbers underneath) and London’s urban nature scene (“a robin is a fish who sings…” and “a fox turns up his face…”).
Gropen - Trad. Arr. Gjerund Larsen
Violin – Elizabeth French
Larsen (b. 1981) is a Norwegian traditional folk musician and composer. Gropen, translated as ‘The Dark Deep’ refers to the low pitches of the fiddle, heard at the opening of this fast, exciting piece. Larsen sets a traditional Norwegian folk dancing tune after the Norwegian fiddler Asbjørn Indahl (1912-1982) and incorporates a style of singing called ‘Tralling’. This folk singing style uses improvised vocal sounds and syllables to mirror timbres heard in the violin part.
She Moved Through the Fair is a traditional Irish folk song which has been recorded and arranged numerous times. The lyrics, which tell of a young couple torn apart by an untimely death, were first published in 1909, but the author is of some debate. The version today, arranged by Timothy Noon, was featured on Chantage’s album My Promise: Music for all weddings.
The Lark Ascending - R. Vaughan Williams arr. Paul Drayton
Violin: Elizabeth French
The Lark Ascending needs little introduction, often topping polls of the UK’s favourite piece of classical music. Vaughan Williams completed a first version of the work in 1914, and the famous solo violin and orchestral version we are used to hearing was first performed in 1921. Composer and conductor Paul Drayton writes of Vaughan Williams’ pragmatic approach to music-making in his introductory notes for this novel 2019 arrangement, and that as “a regular arranger and proponent of musical inclusiveness himself” one may imagine Vaughan Williams “sanctioning a choral backdrop to his lark”.
Drayton takes the words of George Meredith’s poem (the inspiration for Vaughan Williams’ original) as lyrics for the vocal parts, intertwining these with wordless sounds (the wordless chorus that was very much in vogue at the time of the original composition). Drayton notes that “only the extracts quoted at the head of Vaughan Williams’ score have been used, turning out to be a comfortable fit to the existing music without any painful dislocation of words or rhythms.”
Chantage are delighted to be joined by acclaimed violinist Elizabeth French for this work. The opening solo violin cadenza evokes the hovering flight of the lark climbing and climbing. The cadenza returns in the middle and at the end of the work, intertwined with choral episodes firmly rooted in the English folk-song tradition, creating a springtime tableau of woods, brooks, and meadows over which the lark soars.
Drayton writes “I hope that this arrangement of a much-loved work might join a growing list of pieces (Barber’s Adagio, Elgar’s ‘Nimrod’, even various Mahler items) for which choral versions have helped spread their reach further, to new listeners and performers alike.”
Bushes and Briars - R. Vaughan Williams
First published in 1908, Bushes and Briars was first heard by Vaughan Williams in Essex in 1903-4 whilst collecting folksongs from around the British Isles. Bushes and Briars was the first folksong collected, and following this he went on to collect around 800 further songs – including The Turtle Dove heard in the first half of this concert. The British countryside again takes centre stage in the lyrics to this work (the “small birds” and the “lambs”), which tell of unrequited love.
Balloon Tree - Ben See
Ben See is a singer, composer and choir leader based in London. He specialises in new vocal music and community singing. Balloon Tree features on his debut album ‘blink blink’, a collection of imaginative a capella works released in 2022. As written on the composer’s website (bensee.co.uk), “Balloon Tree is a song about imagination. It creates a large textural choral soundscape. The choir is split into two: the text is carried in the middle voice parts, while the higher and lower voices add atmosphere and colour through improvised patterns and sounds.”
Swimming over London - Bob Chilcott
Swimming over London was first recorded by The King’s Singers in 2010. Chilcott collaborated with poet Charles Bennett (b. 1954) for this work. The words are primarily given to the tenor solo who floats over jazz harmonies and textures in the choral part, narrating a trip through the London sky. We fly over the sleeping streets (“a taxicab slumbers underneath) and London’s urban nature scene (“a robin is a fish who sings…” and “a fox turns up his face…”).
Gropen - Trad. Arr. Gjerund Larsen
Violin – Elizabeth French
Larsen (b. 1981) is a Norwegian traditional folk musician and composer. Gropen, translated as ‘The Dark Deep’ refers to the low pitches of the fiddle, heard at the opening of this fast, exciting piece. Larsen sets a traditional Norwegian folk dancing tune after the Norwegian fiddler Asbjørn Indahl (1912-1982) and incorporates a style of singing called ‘Tralling’. This folk singing style uses improvised vocal sounds and syllables to mirror timbres heard in the violin part.
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James Davey – Musical Director
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. |
Elizabeth French - Violin
Elizabeth began learning the Violin and Piano at the Junior Guildhall School of Music and Drama from the age of seven. Elizabeth was also a founder member of the Winchester Cathedral Girls’ Choir. She graduated from her Masters degree at the Royal Welsh College of Music and Drama having studied with Lucy Gould and Nick Whiting. Elizabeth is now a busy freelance musician performing around the UK in various ensembles with artists ranging from classical instrumentalists to West End and Popular music stars. Alongside her performing career, Elizabeth is dedicated to inspiring young musicians and is a Violin teacher and ensemble tutor at the Junior Welsh College of Music and Drama, and teaches at various schools across South Wales. |
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
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
Save the date...
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Chantage 25th anniversary concert
Saturday 19 October 2024 St James's Piccadilly, London Save the date! More details coming soon... |
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