Waverley Singers

Singers and brass combine for a seasonal concert

The Waverley Singers' celebration of Christmas, conducted by Malcolm Hicks, was performed to an enthusiastic audience in St Andrew's Garrison Church of Scotland on December 11.

It was the first time that the choir had performed with a full brass band. Alder Valley Brass, conducted by Michael Pegram, added a warm sound and opened the concert by accompanying the choir and audience in the familiar arrangement by David Wilcocks of "O Come, All Ye Faithful."

The choir took centre stage with Wilcocks’ lively arrangement of "Tomorrow Shall Be My Dancing Day" and the Charles MacPherson setting of "The Shepherd's Cradle Song." This was a slimmer Waverley Singers; fewer than 70 voices, well below its customary strength. The effect was to give a lighter feel to the music, with good, clear tone. The light touch was perhaps a little overused in the second of these two pieces, in which we heard a concert performance rather than a lullaby, but it was still delightful.

Written in 1998, “A Christmass Triptych” by Eric Hughes, was certainly not traditional Christmas music, even though the texts of the three pieces are 300 to 500 years old. The composer is a little unkind in asking for a top G entry from the sopranos in "Wolcum Yule", exposing some uneven tone. The relative calm of "Chanticlere" is contrasted in the final piece, "The Somerset Wassail", where the composer requests a completely spurious "oo-ar" West Country accent, and the sentiment of the traditional words was captured by both choir and composer. Paul Griffiths provided organ accompaniment.

After "While Shepherds Watch Their Flocks by Night" for choir, audience and band, Paul Griffiths played the delightful "Sortie III in E-flat" by Louis Lefebure-Wely, heavily reminiscent of fairground music.

In the English traditional “Coventry Carol”, Alder Valley Brass provided an accompaniment, and both conductors, in "line ahead formation", worked alternately with choir and band. Alder Valley Brass continued the programme with settings for brass of the modern “Theme from The Snowman”, “Pastime with Good Company” (attributed to Henry VIII), and the 14th-century “Gaudete” with clear 20th-century overtones, and perhaps a little bit of Berlioz's “Symphonie Fantastique” for good measure, demonstrating how well brass instruments are suited to these kinds of arrangements, and just how much raw power and volume can be generated by a brass band.

The last three items in the first half were arrangements by John Rutter (“The Sans Day Carol”) and David Wilcocks (“Deck the Hall”, and “The First Nowell”), the audience helping out with the final carol. The “Sans Day Carol” was beautifully performed, delicately accompanied by Paul Griffiths, and the challenging cross-rhythms of “Deck the Hall” required much concentration from the choir, who added real laughter to great effect.

After joining with choir and band to open the second half with "Once in Royal David’s City", the audience heard Waverley Singers in settings of two carols by Jennette Wickes, a member of the choir. “Quem Pastores” and “Personent Hodie” are 14th- and 16th-century words in settings that are totally modern but with a traditional feel. The choir was very much at home in these short, unaccompanied works.

In his introduction to the three pieces next offered by Alder Valley Brass, Michael Pegram admitted that the link between their James Bond collection and Christmas was tenuous, and might be limited to films on television on Christmas Day. Although the performance was of the expected high standard, many of the audience were left wondering whether Mr Bond gained much from the brass band arrangement. This was certainly not true of “Christmas Song” (Chestnuts roasting on an open fire...) and Rutter's “Shepherds Pipe Carol”, both of which translated well to unfamiliar settings for brass.

Waverley Singers' individual talents were displayed as Alyson Paterson and Jenette Wickes, both pianists, played duets by Dvorak and Fauré. The upright piano that was available to them proved to be less than adequate, and it was plain that no matter what they did, the instrument would not produce what they asked of it.

Harold Darke's "In the Bleak Midwinter" was skilfully performed by the singers. Alyson Patterson's "Puer Nobis Nascitur" (Unto Us a Boy is Born) requires the choir to have a strong sense of rhythm and pitch, particularly since much of it is choral. It is a delightful carol and was sung with all the delicacy needed to bring out its charm.

Alder Valley Brass completed the concert with Leroy Anderson's "Christmas Festival" medley, before accompanying the choir and audience in "Hark the Herald Angels Sing".

Malcolm Hicks and Michael Pegram were enthusiastic about the cooperation between singers and brass, as was the audience.

Contributed: RGW