Festival Singers 2021 plans
Thanks for visiting our website.
We rehearse at 7:00pm on Monday nights at Newlands Christian Assembly 126 Newlands Road, Newlands, Wellington.
If you are looking for a choir to sing with in 2021 we’d love hear from you.
Here is a summary of our plans for the remainder of 2021:
Ceremony of Carols Christmas concert
7:00pm Saturday 20 Nov. 2021
St John’s on the Hill, Johnsonville
Featuring Benjamin Britten’s Ceremony of Carols,
with Michelle Velvin harpist.
Limited to 70 seats, due to Covid Lockdown restrictions.
Starlit Night Concert
Our concert is postponed until 2002 due to the Covid Lockdown
We will advise a new concert date and time
as soon as they are finalised
- Seek Him That Maketh the Seven Stars by Jonathan Dove
- Nocturnes (including Sure on this Shining Night) by Morten Lauridsen, and
- Music by Jonathan Berkahn
Our soprano soloist is Rowena Simpson
Our last Concert
Come and be swept up in the drama and vigour of two vibrant, contrasting masses – Dvorák’s epic Mass in D, sung with four excellent soloists, followed by Chilcott’s infectious Little Jazz Mass.
Chilcott: A Little Jazz Mass — Dvorák : Mass in D major
Festival Singers presented an afternoon of joyful music.
Director: Ingrid Schoenfeld
Accompanist: Jonathan Berkahn
Soprano – Rebecca Woodmore
Alto – Sinéad Keane
Tenor – Garth Norman
Baritone – William McElwee
3pm Sunday 23 May 2021
St James Anglican Church
71 Woburn Road, Lower Hutt
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)
email@example.com, 027 240 6669 or
- Philip Garside (Secretary)
firstname.lastname@example.org 475 8855
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