Our next concert
We’re excited about our next concert
Angels Dancing — Choral Masterworks
which will be in collaboration with William McElwee and the St. Mary of the Angels choir. This is a fantastic church choir with a lot of great voices, and it will be a delight to sing with them in their stunning church. Ingrid, William and guest conductor Heather Easting will share the conducting.
The programme is made up entirely of the absolute gems of the choral repertoire:
I was glad (1902) – Psalm 122, Sir CHH Parry (1848-1918)
Bogoroditse Devo, All-Night Vigil Op. 37 (1915), Sergei Rachmaninov (1873-1943)
Abendlied (1855) – Luke 24:29, Josef Rheinberger (1839-1901)
Qui habitat (2022) – Psalm 91, William McElwee
Miserere (c. 1630s) – Psalm 51, Gregorio Allegri (c. 1582 – 1652)
Hymn to St Cecilia (1942), – Text W.H. Auden, Benjamin Britten (1913-1976)
Hail, gladdening light (1919), John Keble (1792-1866), Charles Wood (1866-1926)
Es ist ein Ros’ entsprungen (1990), (Text 1599), Jan Sandström
Cantique de Jean Racine, Op. 11 (1865), Gabriel Fauré (1845-1924)
Three Motets (1892), Charles Wood (1852-1924)
1. Justorum animae – Wisdom 3
2. Coelos ascendit hodie – 12th Century Hymn
3. Beati quorum via – Psalm 119
Crucifixus a 8, Missa Sancti Christophori, Antonio Lotti (1667-1740)
Zadok the Priest (1727), Kings 1:38-40, GF Handel (1685-1759)
The concert will be at
7:30pm on Saturday 27 August 2022
at St. Mary of the Angels, Boulcott Street.
Tickets are $25.00
Click the link below or scan the QR code to order your tickets at Eventbrite:
Festival Singers 2022 plans
Thanks for visiting our website.
If you are looking for a choir to sing with in 2022 we’d love hear from you.
Contact details are at the bottom of the page.
- If you are unwell, please don’t come to choir rehearsals or events.
- Wearing a mask is strongly recommended.
We will review this policy as the Covid situation changes.
Programme for the rest of 2022
Angels Dancing – Choral Masterworks: Concert with the choir of St. Mary of the Angels, 17 Boulcott Street – 7:30pm 27 August 2022
Programme will include: Zadok the Priest, Parry’s I Was Glad, Allegri’s Miserere, Stanford’s Three Latin Motets, and a wide range of composers from Allegri to Britten.
“Rewritten” concert. October / November 2022
We’ll sing music that’s been used in one context and then rewritten for another, e.g. JS Bach’s Passion Chorale that Paul Simon rewrote as American Tune.
- We plan to sing at the Seatoun Carols event at St Christopher’s that fundraises for the Wellington City Mission.
- We may perform a Christmas concert
- We may sing at some rest-homes
Documentary Video about making the recording of A Hopkins Gloria
Buy Our Digital Album
A Hopkins Gloria
Here is Alexander Garside’s trailer video about the album
A Hopkins Gloria was initially premiered at a concert that included two other Glorias, by Vivaldi and by John Rutter. In the back of my mind were Classical and Baroque “cantata-masses” like Vivaldi’s Gloria, where each fragment of the (Latin) text is spun out into a complete movement. I was tempted in this direction, but decided at length to set the text in English (mostly the version in A New Zealand Prayer Book) – partly because most of the rest of the concert was in Latin. And as soon as I had made that decision, I felt that I couldn’t repeat each clause indefinitely, treating them as tokens to fill out abstract musical designs, but had to regard the text (or at least larger sections of it) as meaningful wholes.
Then I had an idea. Gerard Manley Hopkins’ Pied Beauty (“Glory be to God for dappled things…”) came into my head, which I had attempted without success to set at various times over the last twenty-five years. I thought of ‘inhabiting’ this canonical text with other, related texts (“and the birds of the air shall make their homes in its branches…”). It occurred to me that one of Hopkins’ Terrible Sonnets, written out of his blackest depression, could make a useful counterpoint to the Agnus Dei sections; then I wondered if the second half of his “That Nature is a Heraclitean Fire and of the comfort of the Resurrection” might work as a way of bringing about a return to the joyful mood of the whole.
So there is a kind of spiritual drama, a dark night of the soul, at the heart of the piece. And it may be worth saying that the emotional dynamic of this section – the attempt to soothe and manage dark imaginings in the early hours of the morning by repetition of the Agnus Dei prayer – is, quite literally, something that has been a regular part of my spiritual life. I do believe, somehow, that joy will have the final word; but suffering and resurrection have to happen first.
Jonathan Berkahn, December 2020
For more information, please contact:
- Ingrid Schoenfeld (Musical Director)
firstname.lastname@example.org, 027 240 6669 or
- Philip Garside (Secretary)
email@example.com 475 8855
Site designed and maintained by Philip Garside: www.pgpl.co.nz
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