Christmas Joy
This was a highly successful Christmas concert which was evidently enjoyed by performers and audience alike. The programme was a good mix of traditional and contemporary carols together with instrumental and vocal interludes and extracts from the all-time favourite Messiah.
The choir under their new conductor, Kevin Ashman, was in good voice and clearly relished this varied and stimulating programme of Christmas music. There was some lovely part singing in Locus Iste, in Harold Darke’s arrangement of "In the Bleak Midwinter and in the Shepherd’s Farewell where the choir responded to the warmth and well-judged support of the brass quintet. Two contemporary carols by Len Ballantine were quite demanding and there were a few uneasy moments in "One Cold Night" but the choir’s focus and commitment were unequivocal. Both Ding Dong Merrily and their final "We Wish You a Merry Christmas" were sung with verve and a lively rhythmic pulse.
The three choruses from Messiah were challenging with some complex vocal parts and although the sopranos were occasionally stretched in the higher registers, the choir sang with a real sense of style and positive musical energy. Rebekah Smith (soprano) set the scene with her short recitatives which told the story beautifully. Her subsequent brilliant performance of Handel’s "Let the Bright Seraphim" was a sparkling and accomplished account which, with the brilliant sound of Alisdair Ashman’s trumpet obbligato, was a clear favourite with the audience.
The Bloomsbury Brass Quintet contributed some engaging Christmas music. The "Yuletide Rag" made the most of the rag idiom and gave an opportunity for some effective individual solo moments. In contrast their version of "In the Bleak Midwinter" was well sustained with only slight lapses in ensemble. Their later carols were effective arrangements and the cross rhythms of "On a Starry Night" by Joy Webb were neatly managed over a very secure tuba bass line. Their principal trumpet, Alisdair also excelled with his father Kevin in the Vivaldi Allegro which opened the second half of the concert. This was virtuoso trumpet playing and it brought a new dimension to the evening’s music making.
This was a Christmas concert for everyone to enjoy and the audience carols proved to be a major attraction. With Jack Gonzalez-Harding confidently at the organ these allowed everyone to take part in a veritable musical feast. The organ certainly came into its own especially in "Good King Wenceslas" with its dramatic word painting and the choir led the singing with the traditional familiar descants providing an extra boost to the audience’s enthusiastic responses.
Throughout the evening, Paul Jeffery as accompanist provided a level of support for every item which has to be the envy of many such enterprises. His musicianship and sensitive
understanding were critical to the success of the evening and his contribution cannot be overestimated.
This was Kevin Ashman’s first venture as Musical Director of the Paddock Wood Choral Society and it has to be seen as a major triumph. From start to finish this was a model Christmas celebration. Much of the success of course lies in the planning and in the choice of music and performers which was varied and totally appropriate. The concert ran like clockwork with Kevin Ashman always in control, stimulating the interest and the attention of the audience with well-timed introductions. Above all however it was his consummate mastery as a musician and conductor and his infectious enthusiasm which made the whole evening such a pleasure for all concerned. Long may it continue!
Marjorie Ayling
The choir under their new conductor, Kevin Ashman, was in good voice and clearly relished this varied and stimulating programme of Christmas music. There was some lovely part singing in Locus Iste, in Harold Darke’s arrangement of "In the Bleak Midwinter and in the Shepherd’s Farewell where the choir responded to the warmth and well-judged support of the brass quintet. Two contemporary carols by Len Ballantine were quite demanding and there were a few uneasy moments in "One Cold Night" but the choir’s focus and commitment were unequivocal. Both Ding Dong Merrily and their final "We Wish You a Merry Christmas" were sung with verve and a lively rhythmic pulse.
The three choruses from Messiah were challenging with some complex vocal parts and although the sopranos were occasionally stretched in the higher registers, the choir sang with a real sense of style and positive musical energy. Rebekah Smith (soprano) set the scene with her short recitatives which told the story beautifully. Her subsequent brilliant performance of Handel’s "Let the Bright Seraphim" was a sparkling and accomplished account which, with the brilliant sound of Alisdair Ashman’s trumpet obbligato, was a clear favourite with the audience.
The Bloomsbury Brass Quintet contributed some engaging Christmas music. The "Yuletide Rag" made the most of the rag idiom and gave an opportunity for some effective individual solo moments. In contrast their version of "In the Bleak Midwinter" was well sustained with only slight lapses in ensemble. Their later carols were effective arrangements and the cross rhythms of "On a Starry Night" by Joy Webb were neatly managed over a very secure tuba bass line. Their principal trumpet, Alisdair also excelled with his father Kevin in the Vivaldi Allegro which opened the second half of the concert. This was virtuoso trumpet playing and it brought a new dimension to the evening’s music making.
This was a Christmas concert for everyone to enjoy and the audience carols proved to be a major attraction. With Jack Gonzalez-Harding confidently at the organ these allowed everyone to take part in a veritable musical feast. The organ certainly came into its own especially in "Good King Wenceslas" with its dramatic word painting and the choir led the singing with the traditional familiar descants providing an extra boost to the audience’s enthusiastic responses.
Throughout the evening, Paul Jeffery as accompanist provided a level of support for every item which has to be the envy of many such enterprises. His musicianship and sensitive
understanding were critical to the success of the evening and his contribution cannot be overestimated.
This was Kevin Ashman’s first venture as Musical Director of the Paddock Wood Choral Society and it has to be seen as a major triumph. From start to finish this was a model Christmas celebration. Much of the success of course lies in the planning and in the choice of music and performers which was varied and totally appropriate. The concert ran like clockwork with Kevin Ashman always in control, stimulating the interest and the attention of the audience with well-timed introductions. Above all however it was his consummate mastery as a musician and conductor and his infectious enthusiasm which made the whole evening such a pleasure for all concerned. Long may it continue!
Marjorie Ayling