Past Performances


May 2022 - Chorus, Orchestra

Sat, 14 May 2022
AN EVENING WITH MOZART

On Saturday, 14th May, Haslemere was treated to an evening of music composed by the Austrian genius, Wolfgang Amadeus Mozart (1756-91), in a concert delayed by two years due to Covid, at Haslemere Hall. Haslemere Musical Society, the local amateur symphony orchestra and chorus, performed three items from Mozart’s extensive catalogue of over 600 works: a Kyrie in D minor, K341, sung by the 29 members of the choir and supported by the 35 strong orchestral complement. This was followed by a performance of Mozart’s Symphony No. 35, known as the ‘Haffner’, as it was composed in celebration of Sigmund Haffner’s ennoblement, a family friend of the Mozarts since childhood. After the interval, the choir was augmented by two professional soloists and the orchestra performed a selection from Mozart’s opera, Idomeneo, depicting an episode from the era of the Trojan Wars. All these works were composed in the period, 1780-2, a time when Mozart was leaving his native Salzburg to become a free-lance composer/musician in Vienna, although it is now thought that the Kyrie may have been a later work.

After a tentative opening, the Kyrie was well sung by the choir. This is a celebratory work using the simple text: Lord have mercy, Christ have mercy, Lord have mercy.

The Haffner Symphony, K385, is a bright, upbeat orchestral work which shows off Mozart’s pre-eminent gift for writing beautiful melodies. Woodwind was strongly featured and very well played even in exposed passages. It was certainly played ‘with fire’ as Mozart had written to his father, Leopold. Although in recent times this symphony is not as popular as it once had been, this occasion made one wonder why we don’t hear it more often.

After the interval, the choir and orchestra performed selected arias, recitative and orchestral parts of Mozart’s opera, Idomeneo, based upon the return of King Idomeneo of Crete to his homeland after the Trojan Wars. He has made a pact with Neptune to sacrifice the first person he meets upon his safe arrival, which proves to be his son, Idamante, and the opera is concerned with how this plays out.



The chorus were joined by two professional soloists, Lizzie Holmes (soprano) as Ilia, a last minute stand-in for the indisposed Shafali Jalota and Alexandra Long (mezzo) as Elettra, both vying for the hand of Idamante. Both soloists were excellent, expressive, clear and with powerful voices filling the hall. I was particularly impressed by two young female choir members, Kerrie Stevenson and Sarah Furbank, who performed duets. Both were musically secure and provided an uplifting presence to their singing which was widely commented upon after the performance. The finale with full orchestra and chorus brought the end to a very enjoyable evening of Mozart’s fabulous music. Well done everybody!

Roger Saunders
President, Haslemere Recorded Music Society

March 2022 - Chorus, Orchestra

Sat, 5 Mar 2022
How good to have live music coming back to Haslemere, especially with the enthusiasm shown by both choir and orchestra who performed a range of very different choral and orchestral works before a packed house, knowledgeably conducted by Musical Director, Dr James Ross.

Schubert’s Symphony No. 3 in D opened the concert with a confident, rich, full sound played with sensitivity matching the composer’s own youthful exuberance.  The Allegretto - a graceful movement enhanced by delightful woodwind playing, led to the 3rd movement: Menuetto - Trio - Menuetto, in a very distinctive minuet form; one which the brass and woodwind captured most convincingly. Finally, a tarantella-style Presto vivace finale, allowed all sections of the orchestra to show their expertise in a thrilling conclusion.   

Very different in both mood and scale, were the scenes and dances from Manuel de Falla’s ballet The Three-cornered Hat, based on a novel with a comic storyline by Pedro de Alarcón. This more challenging ‘chamber orchestra’ work has a complex interplay of instruments; played with conviction, the orchestra caught the mood expertly of boisterous rustic sounds intruding into a placid pastoral sound-world, capturing just the right spirit of the piece; of particular note being the woodwind and brass soloists.

After the interval, the second half restarted with César Frank’s Psalm 150 and it is hoped this piece will be better know after this performance. Unlike many other settings, it begins with a solemn ‘Hallelujah’ expressing humility before the Creator, before ending with a climax of praise: ‘Let everything that hath breath.’  The tuneful music allowed both choir and orchestra, (with the more complex harmonies), to show their range of skills throughout.

The Concert Hall then fell silent for a short pause, as we remembered those suffering in the conflict in the Ukraine, and who are not able to share the liberties - of which joyful, unrestricted music-making is one - which we all freely enjoy.

The concert closed with Faure’s Requiem - a well-known and much-loved work, the portrayal of the pilgrimage of a soul to the divine. Rather than trying to match the ‘grand’ sound of other requiem settings (of Verdi or Berlioz for example), this performance was entirely in accord with this more intimate scale of writing and contrasting style of the movements.  The Treble soloist, Sam O’Brien, sang with poise and clarity in the Pie Jesu, perfectly in keeping with this interpretation. The Baritone soloist (Ond?ej Soukup), matched this, not with the usual detached, formal style, but one that you could empathise with, in the soul’s heartfelt pleading for deliverance.

From the opening, the full, rich sound of the Requiem æternam commanded immediate attention, to the final angelic, transcendent In Paradisum, an unlaboured performance led us through the full range of human feelings.


Credit is also given to Ond?ej Soukup, Chorus Master, and to Clive Osgood, Assistant Chorus Master and Keyboard, who have clearly worked hard with the Chorus to develop a clear understanding of the significance of both words and music. Mention should also be made of James Ross’ comprehensive programme notes. 


All who support live music in Haslemere, will surely look forward to the next HMS Concert on Saturday, 14th May, which promises to be an enthralling Mozart evening.

December 2021 - Chorus, Orchestra

Sun, 5 Dec 2021
On Saturday evening, 4th December, Haslemere Musical Society returned to its usual venue, Haslemere Hall for its annual Christmas themed concert, after a break of 21 months, due to covid restrictions. An earlier, orchestral only concert had taken place in October this year, but without the choir. Haslemere Hall was filled with an audience eager for the resumption of normal musical activities, so important at this time of year, and they were not disappointed. Although space was somewhat limited due to the socially distanced orchestral placing, we were able to enjoy the full sound of 40+ musicians and the added benefit of similarly sized choir to fill the hall with music.

The concert began cautiously with Rossini’s Overture to La Cenerentola (Cinderella), but when the tempo increased, the full power and dynamics of the orchestra were apparent, particularly when the first theme for strings entered the fray. This is a superb piece to begin any concert as it contains so many of Rossini’s wonderful melodies. Conductor, James Ross, then welcomed the audience and explained the ideas behind the opening work and the next item, Haydn’s Symphony No. 101, ‘The Clock’, one of the symphonies that Haydn brought to London in the 1790s. This is a bright, chirpy and melodic work full of good tunes and the second movement’s ‘tick-tock’ rhythm given prominence by the pizzicato cellos and woodwind, gives the work its title. The third movement Minuetto-allegretto, was played with great fervour and reminded one of the Womble’s pop hit in the 1970s, with a similar name.

After the interval, it became the choir’s turn to join in the proceedings and we were treated to some mellifluous a capella singing with the Dixit Maria by Hans Hassler (c.1564-1612). This was the first of five short pieces from across the centuries, including Ave Maria Stellis by Edvard Grieg (1843-1907), Exsulatate Justi by Lodovico Viadana (c.1569-1627), Unser Lieben Frauen Traum by Max Reger (1873-1916) and Johannes Brahms (1833-97) Geistliches Lied (Sacred Song). The choir was in good voice throughout, although the prominence of the sopranos and the relative small number of basses gave the works a brighter, less full bodied sound than is usually the case.

A chamber music interval provided the audience with the opportunity of hearing an arrangement for wind ensemble of two movements from Dvorak’s Czech Suite, which were superbly played by the wind section of the orchestra. This work was dedicated to Anne Goldman (1938-2021), who for many years played the clarinet in the HMS orchestra and organised its summer sessions.

Then we came to the real meat of the evening, the seasonal choruses from Handel’s wonderful oratorio, Messiah. We heard: And the glory of the Lord shall be revealed; And He shall purify the sons of Levi and finally, For unto us a child is born. This told us that Christmas is just around the corner and gave us the expected jubilant sound of Handel’s excellent, enthralling work, which has been popular for 280 years. The choir and orchestra gave it their all and the audience was delighted; it really lifted the mood on a dark and bitterly cold night. Amateur choirs just love to sing these exceptional choruses from Handel’s most popular and performed work and the Musical Society choir made that obvious to us all.

The next item was a special treat. Local composer, Clive Osgood had composed his Bee Carol, to a poem by Carol Ann Duffy, in 2018, for the BBC3 Carol Competition. Clive was present to play the keyboard accompaniment to this lovely seasonal work which was given its premiere performance at this concert.  The concert ended with Leopold Mozart’s Sleigh Ride (Schlittenfahrt) from his Divertimento in F for orchestra. Complete with sleigh bells and a jaunty tune, it brought the evening to a very successful close and was enjoyed by all attending and those taking part, sending us away into the night, warm and contented. The next HMS Concert is on 5th March 2022 at Haslemere Hall.

October 2021 concert - Chorus, Orchestra

Sun, 17 Oct 2021

Review
 

Haslemere Musical Society sprang into action, after the eighteen month hiatus caused by the coronavirus pandemic, with two orchestral concerts at St Christopher’s Church in Haslemere on Sunday, 17th October. A chamber- sized orchestra presented two hour long concerts, each featuring performances of Mozart’s Symphony 20, composed in 1772 in Salzburg and Étienne Méhul’s Symphony 1, composed in 1808. The early concert also included Mozart’s 3rd Horn Concerto, superbly played by soloist Roger Doulton. The later concert featured Charles Gounod’s Petite Symphonie for wind octet and flute. The orchestra was conducted by James Ross, well known to Haslemere’s concert-goers.

Mozart’s lively early symphony was a really positive way to begin these concerts as it is a festive work complete with trumpet flourishes, dialogue between the winds and strings and complete with Mozart’s usual trills and adornments. The sound filled the wonderful acoustic of this lovely church, so often used for performances of classical music. The lilting theme of the second movement was followed by a short minuet before the fast, breathless finale. It showed that the orchestra was on really good form.

Mozart’s third Horn Concerto followed with the soloist stepping out from the orchestra to perform this very popular work. Roger Doulton coped extremely well with the intricacies Mozart had written for the soloist. This was joyful, exuberant horn playing by a very capable amateur musician.

Méhul’s four symphonies are not well known and seldom played in the current era, but they are fine works and deserve to be heard more often. So HMS gave Haslemere the opportunity of experiencing the first of these works. The strongly percussive nature of the opening made one realise that time had moved on. We were now in the Romantic era, more akin to late Haydn and Beethoven, with greater energy and a much broader soundscape. The grand opening movement was followed by a gentle slow movement with raucous low horn calls. Pizzicato strings featured in the minuet before we were strongly reminded of a theme from Beethoven’s Fifth Symphony. However, neither composer met although both works were composed in 1808. This work established Méhul as France’s first Romantic composer.

Gounod’s Petite Symphonie allowed the wind section of the orchestra to step up and show their mettle. Composed for just nine wind instruments, it begins with a slow hymn-like theme before the tempo increases. Jaunty rhythms, a ‘hunting horn’ scherzo and a trio that has the feel of a country dance. This lovely work was a treat for the ear.

Unfortunately, the attendance at both concerts was much lower than expected, something that appears to be the norm following the pandemic lockdowns. This in no way seemed to affect the performance by the orchestra, who were collectively strong, very tight rhythmically and provided a wonderful return to live music in Haslemere.

Roger Saunders


March 2020 concert - Chorus, Orchestra

Sat, 7 Mar 2020

Review

This was a night of exceptional music making under the inspiring baton of Dr James Ross, meeting the challenge of very different pieces with enthusiasm and musical skill. There was something for everyone from four giants of British music. The first half started exuberantly with Soirées musicales, Benjamin Britten’s rearrangement of Rossini. The orchestra played the five contrasting pieces spiritedly, with a lightness of touch, while being honest to the precise musical writing.
A quite different work in mood and colour followed; Frederick Delius’ Walk to the Paradise Garden. The orchestra met the very different demands of sustained lyricism and generally slower tempi, yet sustaining the expressive musical form.
It is always a challenge to bring new insights to well-known pieces, but this is clearly what accomplished soprano Janice Watson did to Elgar’s Sea Pictures, demonstrating the wide range of her vocal skill and understanding.
The second half consisted of a splendid performance of Vaughan Williams’ Dona Nobis Pacem. Both the choir and orchestra acquitted themselves excellently in this complex and emotionally demanding work. This is Vaughan Williams response to his first-hand experience of the horrors the First World War and the looming second: very clearly an anti-war cantata. The work might be relatively short, but packs a mighty punch. The poems of Walt Whitman may be an acquired taste, (though used previously in Vaughan Williams’ Towards the Unknown Region), combined with the words of comfort from the Christian scriptures and the Mass. Though interspersed with the salutary words of John Bright MP – a re-casting of the comforting words of the Hebrew Passover, and those of the prophet Jeremiah.
Throughout, the two soloists, soprano, Janice Watson and baritone, Jon Stainsby, brought a depth of understanding and emotional power to their performance. From the opening Agnus Dei to the last Dona nobis pacem, controlled yet with an intensity fading to nothing, Janice’s singing matched the words perfectly. Jon Stainsby also showed his full range of musical skills, from the dramatic to the intense anguish of his words in Reconciliation: “for my enemy is dead, a man divine as myself is dead.”
Mention must be made of Cole Bendall as Chorus Master, and Clive Osgood, Rehearsal Pianist, who have melded the voices into a harmonious whole; articulate, with clarity of diction and a clear understanding of the sentiment of the music and words. Mention should also be made of the team who put together the programme with its comprehensive notes.
One has to remind oneself that the performers were predominantly amateur, who gave fine performances of very different and complex works. It is to be sincerely hoped that Haslemere Musical Society will continue to prosper and perform to such a high standard.

Robert Mitchell

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