The Telling (Clare Norburn, Ariane Prussner, Kaisa Pulkkinen)

St Clement’s Church, Hastings, 15 December 2019

At a time of year when we are very accustomed to the sound of blockbuster Christmas hymns and songs belted out by big choirs, bands and in recorded format almost everywhere you turn, it’s quite refreshing to hear some proper Medieval carols sung with imaginative authenticity.

The concert – and it’s a touring show – opens with the English Medieval Carol Lullay, my child sung by Norburn and Prussner moving round the church separately, sometimes passing each other, and both holding candles. St Clement’s church has a fine acoustic around which the pure, vibrato-free voices resound in a way which is mysterious in a quasi-monastic way. It’s quite a scene setter and you really do feel as if you’ve shifted back half a dozen centuries.

The rest of the programme consists of a further twenty carols, one or two of them familiar (Past Three A Clock, the Coventry Carol and Stille Nacht ) but most of them not. It’s fairly compelling to listen to although some of the material is a bit samey and there’s an awful lot of minor key.

There were some discoveries, though. El noi de la mare, a Catalan carol dating from the 16^th century is very pretty and resonant. Verbum Caro from Finland is uplifting.

The most striking thing about this performance is the musical rapport between Norburn (soprano) and Prussner (alto). Obviously these carols have been arranged and the two singers blend together perfectly with every harmony immaculately delivered – and they’re very exposed so there’s no room for error.

Accompaniment, where required, is played on harp or recorder by Pulkkinen who also contributes some instrumental numbers. Her playing, like the singing in this concert, sounds convincingly in period.

Some of the carols are also “accompanied” by on-screen animation created by Kate Anderson. I thought they added nothing, seemed trivial and that the performers should simply trust the music they’ve chosen to sing. My companion for the evening, however, liked them and said that the visual element helped to enliven the experience when the singing began to feel repetitive. Take your choice.

Susan Elkin

St Mary in the Castle, 14 December 2019

A full house, a buzz of excitement and some of the best Christmas music this season – all of which we have come to expect from Hastings Philharmonic but it is none the less very welcome when the time comes round. We have also grown used to the younger members bringing us string solos before the main event begins, and so it was this year with three young violinists, concluding with an impressive reading of the sublime second movement of Bach’s double violin concerto.

Then onto the main event, diving in at the deep end with God rest you merry, gentlemen for all concerned. The choir items were arranged in small groups and focussed this year on quieter more reflective pieces, opening with the ladies voices in Adam lay ybounden and a moving I wonder as I wander in John Rutter’s arrangement. After another carol for all, the Hastings Philharmonic Brass Quintett gave us a sparkling version of the Sussex Carol and a subtle arrangement of Silent Night.

The next two items brought a strong contrast between the beautifully reflective O magnum Mysterium by Morten Lauridsen and the vibrant Shepherd’s Pipe Carol from John Rutter.

After the interval and two more carols for all, the choir gave us a jolly Sir Christemas and a gentle Gabriel’s Message, before the Brass Quintett returned with a baroque sounding Es ist ein ros entsprungen and an unusual arrangement of The Holly and the Ivy.

Then came the moment without which it would not be a Hastings Philharmonic Christmas – Marcio da Silva singing O Holy Night.  It seems to get better and more moving every year, and long may it continue.

The guest children’s choir this year were from Christ Church Primary School who sang Jay Althouse’ In December and Jonathan Dove’s Snow.  Both of these were probably unfamiliar to the majority of the audience and a fine addition to the Christmas repertoire. They concluded with a rousing Jingle Bells before we all joined in Away in a Manger.

The final item from the choir reflected the note of intimacy which pervaded this year’s concert with A maiden most gentle before we all came together to sing O come all ye faithful.

The atmosphere in St Mary’s was certainly very warm and we understand that it will be even warmer soon as the money has been raised to replace the boilers!

St Clement’s, Hastings, 11 December 2019

The Class Choir’s concerts are always enjoyable and the Christmas one especially so with its rich refreshments and a sense that we are all welcome to join in. Not that we could with all the pieces, particularly the opening Dona nobis pacem and Jazz Gloria both of which set the tone for the evening – a focus on Christmas but happily inclusive. The song from the Witches of Eastwick was pleasant even if the words were inaudible, but there was no such problem with the ebullient It was on a starry night and All I want for Christmas is you.

The Carol of the Bells is a favourite and worked really well as did the concluding Rudoph, Jingle Bells and We wish you a merry Christmas.

In between we had sung a number of well-known carols – even if the words in the hymn books did not always agree with those being sung by the choir – and joined in enthusiastically with Winter wonderland. This relaxed evening has now become a regular part of our Christmas festivities and long may it continue.

Opus Theatre, Saturday 7 December 2019

The London Piano Trio were making their first appearance at the Opus Theatre and chose to err on the side of challenging their audience rather than going for a smooth introduction. This worked extremely well, for while the composers may have been familiar the works themselves were demanding and unexpected in the inter-active response they required from the highly attentive audience.

They opened with Beethoven’s C minor Trio Op1No3. Whereas Haydn had approved of the first two trios in the set he warned the young Beethoven against publishing the third as it might have confused the listener. One can see why. The two central movements flow easily – the Andante cantabile has a delicate beauty with the piano part hinting at much that was to come for the more mature composer. The Minuetto similarly has a florid innocence. It is the outer movements which require greater attention, the brooding opening Allegro is often uncomfortable and in the Finale the key changes seem challenging even for a modern listener.

This was followed by Shostakovich’ E minor Trio Op67, written at a time when the composer was working under extremely difficult conditions in Russia. The high harmonics for the cello in the opening bars are extremely uncomfortable and it would be easy to think the cellist was still tuning. It is eerily disconcerting. If the fire and sparkle of the Allegro is more relaxed it is not without its nervous edge. Only the simplicity of the Largo brings anything like normality – but what is one to make of the final Allegretto? With its Jewish folk music interspersed with moments of real fury it is disconcerting to the point of being almost upsetting, and yet Shostakovich leaves us on the right side of despair.

After the, by that stage very necessary, interval, we were with Shubert and the B flat major Trio D898. If this was distinctly easier on the ear, its late writing meant that there were subtleties within the score which provide darker colours and hints of tension which were potentially at odds with the surface beauty. The wonderful richness of the opening movement gives way to the sublime Andante and the playfulness of the Scherzo. The final Rondo is indulgent in all the right ways and brought the evening to a most satisfactory close.

The most obvious comment about the playing was that one was never aware of any one musician leading, only of the trio playing as a single instrument. This is a tribute to the mature professionalism of violinist, Robert Atchison, cellist, David Jones and pianist, Francis Rayner. We hope they will be back again soon, potentially before the end of this their twentieth anniversary celebrations.

St John the Evangelist, St Leonards, 7 December 2019

Seaview Carol Concerts really do get better and better each year. I know I am biased but this year’s was certainly vintage. After Father David’s familiar warm up act, Sound Waves Community Choir brought us four familiar carols in rousing settings. The Ragged Friends Chorale – a new one on me – excelled with a cappella arrangements of Little Cradle Rocks, The Sailor’s Carol and May your cup always be full –lovely numbers which I would like to know better.

Shadey Pines are an all-female group who brought the visiting singers’ contributions to a close with Lean on Me. In between we had heard briefly from Trustee Duncan Tree, Seaview CO Dave Perry and the Mayor, Cllr Nigel Sinden, extolling the extraordinary work undertaken at Seaview and the way everyone concerned is prepared to go the extra mile for the clients. They did not need to make any political points – the facts spoke for themselves.

But they really had saved the best for last. There have been some years when, honestly, Seaview Choir has brought joy and enthusiasm in armfuls even if the musical qualities have not been at the standard of the rest of the performers. Not this year. Led by Jenny Miller they gave us resounding renditions of God Rest Ye Merry, and We Three Kings; a lovely reading of The Owl and the Pussycat and two stunning arrangements of Santa Baby and Rockin’ around the Christmas Tree. They were joined by members of Barefoot Opera but you would have been hard-put to tell who was who from the voices on display.

Seaview does far more that support the homeless. It gives hope to individuals when they most need it and this Christmas, this was the most hopeful event I had attended.

Bexhill Choral Society;

St Barnabas, Bexhill, 7 December 2019

Even Scrooge would have warmed to Christmas with this presentation.  It was a delightful mixture of the familiar, and not too familiar Carols, but with originality too. Yes, you may have to read that twice – I will explain later.  But for now, it definitely wasn’t the all too familiar Carol Concert.  It was different and fun. Conductor Ken Roberts put together a splendidly varied programme.  Ken has a particular sense of humour evident in his talks and presentation.   The familiar Carols were sung by the choir paying attention to dynamics, crisp or melodious when needed.  There were several choir pieces that were unfamiliar, ‘Presentation of Christ in the Temple’, ‘Resonemus Laudibus’ and ‘Ring out Wild Bells’. These must have had their difficulties but the choir seemed to have mastered them.  Sussannah  Appleyard has a very light distinctive easy-to-listen to soprano voice and she entertained us enchantingly with six pieces. One extra than the programme, but it was welcome.  I particularly liked ‘Winter’ (words by Shakespeare) and it was obvious she did too.  The Cinque Ports Brass Ensemble accompanied the choir, but unfortunately, and naturally as is brass bands want, perhaps a little too loudly at times.  But you could not fault their talent and enthusiasm, and it added forgivably, to the Christmas ‘feel’.   The very talented Nigel Howard gave support on Organ and piano.  Conductor Ken Roberts, so he told us, had been on a Cruise to the Caribbean and had met with a band. This inspired him to set some familiar Carols as Calypsos. It was a delightful arrangement and was the originality I wrote of above. Ken also accompainied ‘Frosty the Snowman’ with his saxophone, which delighted and entertained the audience immensely. On a sour note, the audience participation had all the gusto of a left over sprout. I looked around me at one point and observed great hulking men who would, I am sure with the right lubrication, sing loudly and raucously, but who were closed mouthed. It is such a pity we no longer sing.  With that audience we could have raised the roof. Oh, and I did like the anti-secular insertion of readings from St. Luke’s Gospel, but then of course I would.  I am biased. Thanks to all who took part in a delightful entertaining  ‘Christmas’ evening. Revd Bernard Crosby