{"id":825,"date":"2017-11-06T15:09:52","date_gmt":"2017-11-06T15:09:52","guid":{"rendered":"https:\/\/tempdomain4.co.uk\/?page_id=825"},"modified":"2024-02-23T15:18:17","modified_gmt":"2024-02-23T15:18:17","slug":"progrev114","status":"publish","type":"page","link":"https:\/\/tempdomain4.co.uk\/?page_id=825","title":{"rendered":"2017-2018 (114th season)"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-12ydz5-6821b634d9b534de3020435c507af11d\">\n#top .av-special-heading.av-12ydz5-6821b634d9b534de3020435c507af11d{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-12ydz5-6821b634d9b534de3020435c507af11d .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-12ydz5-6821b634d9b534de3020435c507af11d .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-12ydz5-6821b634d9b534de3020435c507af11d av-special-heading-h3  avia-builder-el-0  el_before_av_one_full  avia-builder-el-first '><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >114th Season: Programmes and Reviews 2017-2018<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-rsbft-e6e67d4d060840d0e50c75cede117d5e\">\n.flex_column.av-rsbft-e6e67d4d060840d0e50c75cede117d5e{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-rsbft-e6e67d4d060840d0e50c75cede117d5e av_one_full  avia-builder-el-1  el_after_av_heading  avia-builder-el-last  first flex_column_div av-zero-column-padding  '     ><section  class='av_textblock_section av-m9isx-113c7b74a181d28d5af3bffe7ddd683c '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"https:\/\/tempdomain4.co.uk\/wp-content\/uploads\/2018\/04\/Programme-for-29-April-2018-low-res-final.pdf\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-821 size-full\" style=\"margin-bottom: 10px; margin-right: 20px;\" src=\"https:\/\/tempdomain4.co.uk\/wp-content\/uploads\/2018\/04\/Cover-image-200x200.gif\" alt=\"\" width=\"200\" height=\"200\" \/><\/a>Spring concert<br \/>\n29 April 2018 in the Assembly Hall<\/h4>\n<p>Rutter \u2013 Magnificat<br \/>\nStravinsky \u2013 Symphony of psalms<br \/>\nBernstein \u2013 Chichester psalms<\/p>\n<p>Click on image to view programme,<\/p>\n<h4>Critique of the Royal Tunbridge Wells Choral Society concert on Sunday 29th April 2018<\/h4>\n<p>How fitting that conductor Rebecca Miller\u2019s last concert with the Royal Tunbridge Wells Choral Society contained such an eclectic mixture of twentieth century styles, revealing the choir\u2019s ability to produce a varied programme so professionally.<br \/>\nAccompanied with full support once again by the redoubtable Salomon Orchestra (led by Tara Persaud), the choral society commenced John Rutter\u2019s Magnificat with clear, lucid tones from the soprano section. Some beautiful phrasing ensued, with well-balanced four-part harmony. Certainly, there was evidence of much joy, including themes of dancing and syncopated rhythms which were managed with apparent ease. The choir handled the contrasting sections of liturgical text, English poetry and prayers with sensitivity, ranging from monophonic vocal lines to luscious harmonies.<br \/>\nEleanor Partridge\u2019s clear soprano voice floated effortlessly over both choir and orchestra in \u201cEt Misericordia\u201d, while the gentle pastoral rhythm of \u201cEsurientes\u201d introduced by the soloist and quickly taken up by the chorus brought a calm, translucent quality to the work, with perfect tonality.<br \/>\nThe final \u201cGloria\u201d was performed exuberantly, with the soprano\u2019s beautifully haunting solo accompanied by harp and flute to remind us that this whole work is devoted to the Virgin Mary.<br \/>\nRebecca Miller was, as ever, in total control and the tricky rhythms were employed most effectively.<br \/>\nStravinsky\u2019s Symphony of Psalms, written in 1930, contains evidence of neo-classicism with the key often undermined and unusual instrumentation (no violins, violas or clarinets). In the first movement \u201cPrayer of the sinner for divine pity\u201d, the choir rose to the challenge of singing minor seconds and slow chords, while \u201cRecognition of Grace Received\u201d contained wide intervals and discords which were employed effectively. The final \u201cHymn of praise and glory\u201d revealed the orchestra\u2019s contrasting rhythms accompanying repeated choral thirds, use of canon and a lovely hypnotic blend of harmonies before coming to rest on the chord of C major. This was a challenging work which was performed with careful consideration to detail from both choir and orchestra.<br \/>\nLeonard Bernstein\u2019s Chichester Psalms, set in Hebrew, commenced with an assertive rendition of psalm 108 and the choir made good use of the asymmetrical time signature. The gentle psalm 23 was sung with excellent use of legato by countertenor Sean Yap with the chorus softly complementing his solo. Another unusual time signature pervaded the final peaceful movement which flowed along easily with an even vocal tone, culminating in a superbly tranquil conclusion.<br \/>\nRebecca Miller conducted choir and orchestra with her usual dynamic enthusiasm and outstanding musicianship. Her presence will be sorely missed, but she may rest assured that her successor will be taking on a choir with a thorough understanding of choral music. Her speech implored us all to encourage the next generation to continue this tradition, and it was delightful to see several young faces in the choir today.<br \/>\nSpecial mention must go to Jamie Sperling, associate conductor and to Craig Hudson, rehearsal accompanist, who have given so much support to the choir.<br \/>\nCongratulations to all concerned \u2013 this was a concert ranging from energetic rhythms to moments of deep tranquillity and \u2013 perhaps most important of all \u2013 sincere commitment to the text. Well done!<br \/>\nMichele Roszak<\/p>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-1pseh-af6855a87b3d59941d883f14fb9247ff '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h4><a href=\"https:\/\/tempdomain4.co.uk\/wp-content\/uploads\/2017\/11\/DvorakBrahms_Nov2017.pdf\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-821 size-full\" style=\"margin-bottom: 10px; margin-right: 20px;\" src=\"https:\/\/tempdomain4.co.uk\/wp-content\/uploads\/2016\/09\/DvorakBrahms_Nov2017.gif\" alt=\"\" width=\"200\" height=\"200\" \/><\/a>Autumn (Remembrance Sunday) concert<br \/>\nNovember 12th 2017 in the Assembly Hall<\/h4>\n<p>Handel\u00a0 &#8211; Coronation Anthems nos 1 and 2<br \/>\nBrahms &#8211; Piano Concerto no 2 with Danny Driver (piano)<br \/>\nDvo\u0159\u00e1k &#8211; Mass in D<\/p>\n<p>Click on image to view programme,<\/p>\n<h4>Critique of the Royal Tunbridge Wells Choral Society Concert on Sunday 12th November 2017<\/h4>\n<p>Once again, a large audience attended the Royal Tunbridge Wells Choral Society\u2019s Remembrance Day concert at the Assembly Hall this afternoon, with conductor Rebecca Miller and the London based Salomon Orchestra led by Tara Persaud.<br \/>\nThe programme commenced with Handel\u2019s Coronation Anthem no.2 \u201cLet Thy Hand be Strengthened\u201d. The clarity of part writing, with flowing melisma and attention not only to musical detail but also to vocal articulation and diction was evident from the start. This is an anthem of jubilation, written to be performed at Westminster Abbey for the coronation of George II, and throughout its relatively short duration the choir and orchestra delivered an excellent rendition.<br \/>\nBrahms\u2019 Piano Concerto no.2 was performed with much sensitivity, the piano and orchestra displaying the great degree of Romanticism which pervades the whole work. Guest soloist Danny Driver explored the piano\u2019s depths of sonorities, dynamics and range which he employed with outstanding pianistic technique and dexterity. The grand dramatic scale of this work was expertly expressed. Dynamic contrasts were beautifully controlled, with devastatingly effective pianissimo in the Andante movement. Rebecca Miller made much use of the delicate rubato and teased out every nuance that was on offer. This was indeed a work of passion which led the audience to all the extremes of human emotion.<br \/>\nHandel\u2019s Coronation Anthem no 1, the better known \u201cZadok the Priest\u201d set the tone for the second half of the concert, with powerful use of voices and orchestra, and clear vocal runs from the choir.<br \/>\nThe afternoon culminated in Dvorak\u2019s Mass in D, first performed in England in 1893 at the Crystal Palace. Clear, lucid part singing with good intonation and musical phrasing all combined in the contrasting six movements of this delightful Czech Latin Mass. The choir explored the luscious intricate harmonic rhythms to excellent effect. This is a demanding work which requires a wide vocal range and ability to pitch complicated intervals, and the singers rose to the occasion with confidence, ably accompanied by an empathic orchestra. Subtle use of gradation of dynamics and tone helped to create the appropriate atmosphere of remembrance.<br \/>\nRebecca Miller is, as always, a wonderful conductor, extracting every subtlety and nuance from both choir and orchestra. In total control throughout, she managed to allow the music to express itself from moments of extreme passion through to those of quiet reflection. In her own words, \u201cputting on a concert like this looks so easy\u201d, and that of course is the art of the true professional. The RTWCS has worked very hard to produce another high calibre, thoroughly enjoyable performance, ably supported by their associate conductor Jamie Sperling and rehearsal accompanist Craig Hudson. Many congratulations to all involved.<br \/>\nMichele Roszak<\/p>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-6lish-3c1637d45e74365d6eecbfdb9755c4f5 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><\/div><\/section><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":7,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_crdt_document":"","footnotes":""},"class_list":["post-825","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/tempdomain4.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/825","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tempdomain4.co.uk\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/tempdomain4.co.uk\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/tempdomain4.co.uk\/index.php?rest_route=\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/tempdomain4.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=825"}],"version-history":[{"count":9,"href":"https:\/\/tempdomain4.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/825\/revisions"}],"predecessor-version":[{"id":3081,"href":"https:\/\/tempdomain4.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/825\/revisions\/3081"}],"wp:attachment":[{"href":"https:\/\/tempdomain4.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=825"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}