It was a busy weekend for the Music department; on Friday, the University Chamber Choir travelled out to perform at Wye Parish Church, at which the choir premiered three movements from Between Worlds by composer / violinist Anna Phoebe as part of an exhilarating programme.
And on Sunday afternoon, we were delighted to welcome back various alumni musicians as the University Camerata came together to perform Prokofiev’s Peter and the Wolf, narrated by Senior Lecturer in Drama, Will Wollen.
Many thanks and congratulations to the members of the University Chamber Choir on delivering a fine Choral Evensong at Canterbury Cathedral yesterday.
The students travelled down the hill to participate in the centuries-old tradition of evensong, with a colourful set of Responses written by David Truslove, and the evocative anthem Blest are the Pure in Heart by composer James Webb, both of which rang beautifully in the lofty roof of the Quire.
And thank you to James, who had travelled down to Canterbury especially to hear the Choir perform his piece. It was a lovely opportunity for the students to participate in the daily life of the Cathedral and experience the nature of the service of Evensong.
We return to the Cathedral for the annual Colyer-Fergusson concert in the Nave on Saturday 30 March, and the University Cecilian Choir will be singing Choral Evensong on Tuesday 28 May.
Two events in three days with which to catch up, Loyal Readers!
Last Saturday brought the University Chorus and Symphony Orchestra together in a programme combining music from the past with reimaginings from a modern perspective: Vivaldi’s dramatic iMagnificat, two of Handel’s bombastic Coronation Anthems, Walton’s recasting of Bach in The Wise Virgins, Matthew King’s orchestral vision of Mozart’s piece for mechanical organ, and Respighi’s light-footed Ancient Airs and Dances Suite no.2.
Director of Music Susan Wanless wielded the baton in front of the assembled masses to a packed house, and it was lovely to welcome back some familiar faces and musical alumni to take part in the performance.
Last night, it was the turn of the University Chamber Choir to participate in the Carol Service, an evocative event at Canterbury Cathedral bringing together members from across the University community in a programme of lessons and carols to explore the season of Advent.
Second-year Music Scholar, Hannah Ost (pictured here in rehearsal), launched the service in energetic fashion conducting Gaudete.
Elsewhere, Your Loyal Correspondent directed the eighteen-piece choir in a lyrically colourful setting of Lullay My Liking by Will Inscoe, a sixth-form pupil at St Edmund’s School, and a deft Ding Dong! Merrily on High. Earlier on, second-year postgraduate Law student and Music Scholar, Helen Sotillo, ushered in the Christmas season with a clarion-clear solo verse of Once In Royal David’s City – as it lifted into the upper reaches of the Nave, the season unfurled above the heads of the assembled congregation, stood in an expectant, candlelit hush.
Next up: tomorrow brings a Christmas lunchtime concert with the Flute Choir and Minerva Voices, and later the annual festive knees-up that is the Big Band’s Christmas Swingalong. Well, it IS the season…
A lovely occasion this morning, which saw the dedication of the memorial bench to the late David Humphreys, a wonderful supporter of music-making at the University, and whose legacy continues to support the University Chamber Choir’s annual concert in the Crypt of Canterbury Cathedral.
The bench, which overlooks the historic Cathedral city from the hill between Eliot and Rutherford Colleges, commands perhaps the finest view of Canterbury, and was a favourite spot of David’s. Members of his family were present at the occasion, at which some of this year’s Chamber Choir sang Tallis’ If Ye Love Me, one of David’s favourite choral works.
Our continued thanks to David and his family for their terrific support, which provides a wonderful experience for members of the Choir each generation.
Congratulations to the University Chamber Choir, which on Tuesday sang Choral Evensong at Canterbury Cathedral.
The event was the first time in the history of the University that the Chamber Choir has taken part in the centuries-old tradition of choral evensong, and an auspicious occasion held in the very cradle of the Anglican church itself.
Directed by Deputy Director of Music, Dan Harding, the choir sang music by Stanford, Smith and Fauré, to a packed congregation, comprising regular attenders and parents, as well as overseas visitors, in the Cathedral Quire.
The Chamber Choir is back in action on Friday 1 June, and indeed back in the Cathedral, when it launches this year’s Summer Music Week festival with a performance in the Cathedral Crypt at 7.30pm; see all that’s coming up as part of the annual music festival celebrating the end of the University year here.
Many congratulations to the University Chamber Choir, which Friday performed at two very different events on the same day.
The lunchtime concert in Studio 3 Gallery saw the Choir fill the resonant space against the backdrop of the gallery’s latest exhibition, ‘The Ash Archive,’ to an audience that just kept on arriving – never have so many chairs been called for! Thanks to Rose Thompson, the gallery’s co-ordinator, for helping to bring the event together.
Later that evening, the Choir travelled out to the village of Hernhill, to sing at the church’s Breathing Space event, a sequence of music and silence by candlelight that afforded an hour-long period of tranquility, calm and reflection. Our thanks to Reverend Paulette Stubbings for making the Choir so welcome, we hope to return to St Michael’s in May – watch this space…
The Chamber Choir is back in action this Friday when it performs in the Eastern Crypt of Canterbury Cathedral, in a programme including Pergolesi’s vivid Stabat Mater.
There’s an opportunity to escape the hurly-burly of modern life into a sequence of music and silence on Friday 23 February, as the University Chamber Choir travels out to the village of Hernhill, near Faversham, as part of a series of Breathing Space events. Hosted by the church of St Michael’s, the hour-long event affords an opportunity to experience a rare moment of peace and tranquility in a candlelit, fifteenth-century church.
Breathing Space is a series of contemplative services during the dark hours of winter days, during which the church is mainly in darkness with some candlelight. The event at 7.30pm comprises a sequence of music, interwoven with periods of silence, performed by the Chamber Choir; there will be no words, no instructions, no expectations; attenders simply find a seat and enjoy the atmosphere and peace, and may leave whenever they wish – a short prayer is spoken at the close. It’s open to all – whether a regular churchgoer, someone who has never set foot in a church, of whatever faith (or none) as part of the church’s well-being programme.
The historic church of St Michael’s stands at the centre of the village of Hernhill; indeed, a church of some sort has stood on the site since the Saxons. The present building dates from the mid-fifteenth century, although some aspects of the church that was built in the twelfth century are still discernible. With a rood screen from the sixteen hundreds and a functioning bell-tower that still rings the changes at Sunday service, the church is a place that spans the centuries. It also has a connections to one of England’s darker moments; somewhere in the graveyard, in an unmarked grave, lie several of those who were killed in the Battle of Bossendon Wood in neighbouring Boughton, which in 1838 saw the last armed uprising on English soil…
The Chamber Choir, conducted by Your Loyal Correspondent and second-year assistant conductor, Matthew Cooke, will perform suitably meditative music by Tallis, Rachmaninov, Paul Mealor, Russell Hepplewhite, Sarah Rimkus and Will Todd. The event is free to attend; the church recommends bringing a torch in order to navigate entering the church for the event and at the close as it will be dark. Find the church online here.
Keep an eye out for future wellbeing musical events later this term, including music and birdsong in Studio 3 Gallery and a forest soundscape in the concert-hall…
I’m sitting in the café late on a dark winter afternoon, to talk with creative powerhouse, artist, actor and writer Adam De Ville about his Blue series, one of which is appearing on the cover of the programme for the concert in the Cathedral Crypt by the University Chamber Choir in March, for its performance of Pergolesi’s Stabat Mater. The music is a masterpiece of the Baroque period, a dramatic and vivid setting of the thirteenth-century hymn to the Virgin Mary’s suffering during Christ’s crucifixion; Adam’s painting (itself called simply ‘Blue’) plays with ambiguity, with uncertainty, with questions of identity, the unknown figure’s possible story and the implication of her suffering.
Sitting there with a shock of silvery hair giving him a distinguished aspect, his gaze direct, there’s a contradiction almost between the committed energy he has for art, his fierce creativity, and the carefully-paced, gently articulated way he talks about it; it’s as though each sentence is carefully weighed, measured for its value in articulating ideas which are important to him. No words are wasted; you are left with the sense that these things have been a long time in consideration, yet they flow readily into our free-wheeling conversation, as the sky outside darkens and the coffee sits forgotten amongst the papers.
Photographs of the Blue series are spread between us across the table-top as we talk. It was painted eighteen months ago, with two distinct aspects – one reflecting Adam’s passion for history, with two works referencing the fifteenth and seventeenth centuries, and the other his fascination with technology. ‘I love exploring technology; does it give us an identity ?’ he ponders. ‘I’m always thinking about how the elderly generation uses technology, and how young people engage with it; does it create gaps, or fill them ?’ He launches into a story about sitting in a restaurant recently, watching a young couple eating, talking with each other and at the same time conducting other conversations on their mobile phones; multi-tasking across different streams with complete ease. ‘I wonder how my own children will use technology in ten, twenty years’ time.’
‘A lot of my work is about looking back and imagining forwards, whilst also embracing the transitory nature of life. I paint to try and get home, to anchor myself in moments on paper.’ The striking sequence of images in the Blue series reflects his interest in the colours and tones buried within that single hue; it began during a three-week illness, during which he picked up a sketchbook and began to paint – but only in blue. I asked him about his focus on a single colour and what it meant. ‘I was thinking about age, about being at different stages of life; and, on some level, how we deal with ‘the blues,’ with depression.’ When painting, the images are usually done in a single sitting, although the preparation and thought-process preceding them takes considerably longer.
A recurrent theme in Adam’s work is the idea of belonging and loss. ‘I’m fascinated by the idea of coming home to a home that doesn’t really exist. Life is transitory; you set up a home, and an identity which disappears when you die.’ His paintings have titles like Memory of Bern or Plans for Birmingham, as though he’s trying to pin down on the paper something elusive, to capture that fleeting moment that exists either only in the memory or in a brief vision of what might be.
Adam’s musical interests include the hypnotic soundscapes of Arvo Pärt and Gavin Bryars; Pärt’s Cantus in memoriam Benjamin Britten formed the sonic backdrop whilst he was painting ‘Blue,’ and Bryars’ mesmerising The Sinking of the Titanic inspired ‘Preludes (where you go I go),’ a haunting sequence of images.
I ask him what he’s working on at the moment. ‘I’m exploding!’ he says, eyes alight with real relish; ‘long may it last!’ His newest images explore the urgent, street-art energies of graffiti; other paintings explore a more vibrant world of colours in various cityscapes – Paris, the Montmartre district, Birmingham’s brutalist architecture from the 70s; there are also paintings of Havana – all places connected with Adam’s life, fragments of his own history. Suddenly we’re transported from the darkness-bound neon glow of the café to Cuba, as he recounts a brilliant (and hilarious) story behind one of the Havana images, involving his acting in a commercial dressed as a pork-chop, a moment which sounds utterly surreal but which informs some of his most energetic painting.
For all his gently-weighted manner, it’s impossible not to be invigorated by Adam’s considerable enthusiasm for his subject, his looking at things from different angles, for making connections and exploring ideas. As we leave to go, each to his own home – after our conversation about identity, about belonging, I’m no longer quite sure what that may mean – a little of the neon glare seems to fade from the café as he ventures out into the dark; but it resides, fiercely, in the images still spread on the table in front of me.
Adam’s work is currently in exhibitions at Store Street Gallery, London, Lilford Gallery, Canterbury and Flux 2018 at the Chelsea College of Arts, London.
Blue will be exhibited in the Colyer-Fergusson Gallery from Friday 16 February to Friday 9 March, during normal opening hours: admission is free, and there is disabled access. The individual painting, ‘Blue,’ will be shown during the Chamber Choir’s Crypt Concert performance of Pergolesi’s Stabat Mater on Friday 2 March.