Spring Concert and WCMF Centenary 'Messiah'

We will be back on Wednesday 2nd February rehearsing for our first concert in a long while! BCS Spring Concert on Sunday 3rd April 2022 at All Saints Church, a programme of Vivaldi's Gloria plus some sacred anthems and choruses from 'Messiah'.
We will also be rehearsing for the grand centennial performance of Messiah by the massed choirs of WCMF at the Anvil, Basingstoke on Sunday 22nd May 2022 conducted by world-famous David Hill!

Return to rehearsals

Botley Choral Society will be back rehearsing from Wednesday 8th September 2021 – and we’d love to see you. If you’ve been thinking about singing with a choral group then do come along to any of the ‘open’ rehearsals being held on Wednesday evenings 8th, 15th, 22nd and 29th September (7:30-9:30pm) at Botley ‘All Saints’ Church and feel for yourself the passion and fun of singing - or e-mail us on www.botleychoral.co.uk/contact

Welcome to Botley Choral Society

Botley Choral Society is an amateur choir that meets once a week in in the village of Botley, Hampshire, in the South of England. The choir perform at least two public concerts a year and take part in the annual Winchester and County Music Festival. Please browse this site to find out more - and come along to the next concert.

Review of Botley Choral Society Spring 2019 concert

Performances by the Society are eagerly awaited events, with venues packed with appreciative audiences, and the Spring Concert held at All Saints’ Church Botley on April 7th was no exception.
Accompaniment of the choir was given on this occasion by a group of string, woodwind and brass players, and organ.
Whatever views are held about the EU and our membership of it, we continue to enjoy much of the rich heritage of music which has found its way to these shores from the other side of the English Channel. The first half of the concert consisted of European Sacred Anthems, mainly composed in the 19th Century. The works were of varying character, from the sedate, moderate pace of the opening pieces, Mendelssohn’s “Lord, in thy mercy grant us peace” and Bruckner’s “Ave Maria” to the frenetic Gloria of Monteverdi’s “Beatus vir” (aptly nicknamed “Hiatus vir” by David Burgess, the conductor.) Individual pieces contained their own contrast, such as Bruckner’s “Christus factus est”, which commences with the choir unaccompanied singing in moderate time engendering an air of mystery, the mood then changing to louder and yet louder volume before concluding very quietly.
Schubert’s “The Lord is my shepherd” is performed by soprano and alto soloists with organ accompaniment. Some of the settings and words are repeated, a device now frequently used in stage musicals to make economic use of the music, and possibly to ensure that the audience cannot forget the tunes, leaving the theatre humming them.
Albinoni’s “Adagio for organ and strings” is a familiar composition which was given a fresh interpretation, with the rich silky tones of the strings blending with the organ and richly deserving the ovation given. Another instrumental piece which also received great acclaim was Handel’s familiar “Arrival of the Queen of Sheba” performed by two oboes and organ in an arrangement which was light and vivacious.
The second half of the concert commenced with Gabrielli’s “Jubilate Deo”, which was listed in the programme as being part of the first half, but changed to enable the choir to be arranged with the sopranos and altos at the front of the church, the tenors in the left aisle and the basses in the right aisle forming a very clear “surround sound”, with an echo effect by certain words sung first by one section of the choir, and repeated by another. The piece ended triumphantly, followed by rapturous applause.
Franck’s well known “Panis Angelicus” and Faure’s “Cantique de Jean Racine” both had contrasting louder and softer periods, finishing softly, both being performed with precision of timing, harmony and diction.
The main work was Purcell’s “Come ye Sons of Art”, the last of a series of odes written to celebrate the birthday celebrations of Queen Mary II, wife of King William III.
Following the overture, in which the trumpet stood out for its clarity, are eight sections with a variety of performers sometimes alternating with the choir and on other occasions joining in harmony with them. The accompaniments were also by different instruments, including a duet of recorders and a solo oboe, which also acts as a perfect companion to the solo soprano in the section “Bid the Virtues, Bid the Graces”. The tempo of each section was individual, ranging from very stately, almost ponderous, to rhythmic string backing of the alto voices in the section “Sound the trumpet”. This work ends with “See Nature, rejoicing”, which embraces contrasting soft periods for the soprano and bass duets with joyful passages for the choir, the last being exultant.
Once again the choir showed its usual prowess in its performance, matched only by the soloists, soprano Jane Sherriff, a favourite of BCS audiences, soprano Catherine Bilton, a newcomer, who will surely become a favourite, alto/counter tenor Thomas Jordan, whose versatility was apparent, and bass Tim Burtt, who also performed with great quality.
The instrumentalists, hand-picked by David Burgess, displayed expertise of the highest nature, and Mark Dancer, who is also well known to the audience, displayed his usual musicianship at the organ as well as singing solo tenor in Monteverdi’s ‘Beatus Vir’.
To David Burgess we give our heartfelt thanks for arranging the concert, engaging such excellent soloists and musicians, and last but not least, for leading and conducting the choir enabling it to perform as only it can. Truly, this was English amateur choral singing at its best.

Spring Concert — 6th & 7th April 2019

This Botley Choral Society concert includes Albinoni’s Magnificat and Adagio for Organ and Strings; Purcell’s Come Ye Sons of Art; Franck’s Panis angelicus; Fauré’s Cantique de Jean Racine; Bruckner’s Ave Maria and Christus factus est; Handel’s Arrival of the Queen of Sheba; Gabrieli’s Jubilate Deo; and Monteverdi’s Beatus vir. We are joined in this concert by professional soloists Jane Sherriff (soprano), Cath Bilton (soprano), Thomas Jordan (alto) and Tim Burtt (bass); and accompanied by organ, strings, oboes and trumpet. The conductor is David Burgess.

For further details please refer to this leaflet.

2018 St Cecilia concert review


The feast day of Cecilia, patron saint of music falls on November 22nd, and it was therefore appropriate for this concert, staged at a full All Saints’ Church, Botley on Sunday 25th November, to be celebrated in her honour. The first half was dedicated to works by Vaughan Williams, namely Serenade to Music and Five Mystical Songs and Haydn’s Nelson Mass completed the programme.

Serenade to Music was composed in 1938 in honour of Sir Henry Wood, who conducted the Proms for almost 50 years, and also pays tribute to Shakespeare by adapting to music a poetic discussion about music from Act V Scene 1 of The Merchant of Venice. Originally written for 16 solo singers, four each of soprano, contralto and tenor, and two each of baritone and bass, it was later arranged for chorus, soloists and orchestra.

After a long organ introduction, taken at walking pace, the choir entered quietly and sang in different parts and harmonies, repeating frequently the word “sweet”, most appropriate to the sweet harmony in which the choir was singing, and the words “ soft stillness”, reflecting the mood of the music. The soloists took over to sing their respective parts with clarity, and at a volume which blended with and did not overwhelm the choir. The soprano soloist and choir concluded the piece quietly.

Five Mystical Songs was first performed in 1911 and is a setting to music of poems written by George Herbert in the early 17th Century. Although at the time an avowed atheist, Vaughan Williams loved the language of the King James Bible, and was inspired by the visionary qualities of religious verse, such as that of Herbert. This is apparent from the content of the pieces, such as the first, which is titled “Easter” and the third and fifth which respectively contain extracts from church liturgy and a well known hymn.

The first four pieces gave prominence to the baritone soloist, who was accompanied by the choir at intervals. That accompaniment was formed by beautifully blended harmony, which fitted together like a finely cut jigsaw, with all pieces perfectly placed. Those pieces were sung at a moderate, sometimes majestic pace, and the final piece, which was performed by the choir alone contrasted by finishing loudly and exultantly.

Joseph Haydn was called upon in 1798 to compose a new Mass to be celebrated at the Esterhazy court in Vienna. At that time, he was confined by his doctor to his room, exhausted by the task of completing and premiering “The Creation”. Furthermore, Napoleon had defeated the Austrian army in four major battles, was threatening Vienna itself, where there was a general air of panic and despondency. Initially, Haydn titled the work “Mass for Troubled Times”, but as he penned it, and unknown to him, Nelson defeated the French fleet at the Battle of the Nile. Reports of Nelson’s triumph reached Vienna around the time of the first performance of the Mass in September 1798. Thereafter, the Mass gradually acquired the title by which it is known today, and Napoleon’s defeat changed the way that the Mass was thenceforth heard, so that it became a depiction of danger and agitation supplanted by triumphant victory.

The Mass contains all the customary components of a work of that nature, with a variety of tone, pace and rich harmony and this performance gave everything that could be expected from such a magnificent work, which one leading biographer of Haydn has described as his “greatest single composition”. The choir rose to the occasion, with crisp entries, clarity of diction and tone, and a unity of performance to the extent that it was hard to believe that this is not a professional ensemble, but a group of enthusiastic people who love to sing together.

The concert was enhanced by the very talented soloists, who sang with their customary precision and clarity. Helen Bailey (soprano), Marie-Anne Hall (contralto) and Adrian Green (tenor) are already well known to supporters of Botley Choral Society, and their performances were matched by Andrew de Silva (bass-baritone) singing with the choir for the first time. His voice is rich, warm and velvety, a real delight and drew acclaim from the audience, who look forward to his future performances with the choir.

Accompaniment was given on the organ by Mark Dancer, whose standards of performance are constantly excellent, and form a pivotal part of many of the concerts.

As always, special thanks are due to David Burgess for his choice of such an interesting programme, and for guiding the choir to such standards of excellence. One member of the audience was heard to say to him “David, this is your best concert yet”. Few, if any, of those present would disagree!

BCS in Berlin with Sir Karl Jenkins and The Armed Man Mass for Peace

Botley Choral Society in Berlin

A Concert for Peace

Music is a universal language and this was demonstrated in a momentous way when almost 2,000 singers from 30 different countries came together in Berlin to mark 100 years since the ending of the First World War. The concert took place in the Mercedes Benz Arena on 2nd November 2018. Twenty three members of Botley Choral Society took part in this concert. It was a profound experience as the Arena is only a few yards away from remnants of the Berlin Wall and the personal stories portrayed in the Wall Museum had a great impact, tragic events which have happened in recent memory, in our lifetime.
The singers were accompanied by the World Orchestra for Peace, formed by Georg Solti in 1995. Solti brought individual players from orchestras all over the world to create a unique ensemble for a special concert in Geneva, marking the 50th Anniversary of the founding of the United Nations. In 2010 it became the first orchestra to be designated a UNESCO Artist for Peace.
Our first rehearsals took place in the new Verti Concert Hall, so new that the doors had been painted on that morning. We were put through our paces by Nicol Matt, founder and conductor of the Chamber Choir of Europe. The accompanist was great fun in our warm-up sessions, we acted fiercely and loudly like a lion, made quieter mouse-like sounds and made appreciative noises about Sir Karl Jenkins moustache. Our other rehearsals were taken by the great man and composer, Karl Jenkins himself.
The first half of the concert was conducted by the charismatic Grant Llewellyn. It opened with Aaron Copland’s Fanfare for the Common Man. This was followed by Palladio Allegretto, written by Jenkins who was inspired by the architect, Andrea Palladio. Fourteen year old Amineh Abou Kerech recited her haunting poem, Lament for Syria: ‘O Syria, my love, I hear your moaning in the cries of the doves. I hear your screaming cry, I left your land and merciful soil...’ Jenkins put the words to music in his work, Lamentation. The next piece was the moving Theme from Schindler’s List for which composer John Williams won an Oscar. Maurice Ravel wrote Le tombeau de Couperin, the energetic Prélude being dedicated to Lieutenant Jacques Charlot and the vivacious Rigaudon to brothers Pierre and Pascal Gaudin who died on their first day of their service on the front in 1914. This piece ended the first half.
Then the excitement built up in us all as we prepared to sing Karl Jenkins multi cultural work, The Armed Man:A Mass for Peace. The work was commissioned by the Royal Armouries as part of its commemoration of the Millennium. The Master of the Armouries at the time was Guy Wilson who selected the texts and wrote some of the words. He was also part of the choir, singing in the Bass section. There are no words to describe the feeling of singing in such a large choir, in harmony, singing the same language, knowing that behind us, on large screens, were horrific images of war and terrorism. Images, harrowing and upsetting, but we must never forget them in the cause of world peace.
Unlike the original composition some movements were sung in different languages for this historic performance. The eighth movement with words written by a survivor of the Hiroshima atomic bomb was sung by Yumeneji Matsufuji in the original Japanese, the eleventh movement was sung in Welsh by Leah-Marian Jones and some of the original English text was sung in German. The composition takes the listener through a battle with the beat of marching feet and trumpet calls to arms. Words of the Latin Mass are included as prayers to God for mercy. Biblical texts, an Islamic Call to Prayer and words from the Hindu Mahabharata form a cohesive story. The tension builds throughout the piece, war is inevitable as Kipling’s words ‘Lord, grant us strength to die’ are sung with menacing brass accompaniment. ‘The double, double beat of the thundering drum’ drives the piece forward, the choir singing discordant notes to convey the cacophony of destruction, the eerie silence of the battlefield, the burial of the dead and the strains of the British bugle call in the Last Post. Within the work the horror of mass destruction is conveyed but also the thought that one death is one too many. The Agnus Dei reminds us of Christ’s ultimate sacrifice, the sacrifice too of millions of lives lost. The Benedictus is an affirmation of faith whilst Tennyson’s poem exhorts us to ‘Ring out a thousand years of peace’ as the music emulates the ringing of church bells at the ending of war. The piece ends with words from Revelations: ‘God shall wipe away all tears and there shall be no more death, neither sorrow nor crying, neither shall there be any more pain. Praise the Lord.’
There was a stunned silence from the audience for several moments, then the applause started quietly, gradually building up and up until everyone was on their feet. This was an emotive experience for all of us, not only in taking part in a unique musical event but in spending time together forging lasting friendships.
In the words of Oscar Arias, Nobel Peace Laureate 1987, ‘Only music surpasses the divisions of language , soaring above borders. Only music can capture universal emotions, reminding us of our common humanity.’

Catherine Tribble

Review of Spring Concert

Botley Choral Society paid a much anticipated return visit to St. Nicholas’ Church on March 17th, but sadly were upstaged by an unwelcome guest, namely the “Beast from the East”. As a result the attendance was reduced to just over fifty hardy souls whose reward for venturing forth in adverse weather was an uplifting performance of nine European sacred anthems spanning a number of centuries, followed by two works written by Henry Purcell in the seventeenth Century.
The pieces in the first half of the programme varied from its opening “Lord Jesu Christ, my life and light” (J.S.Bach) which is commenced by an instrumental prelude set at a walking pace, with the singers taking up the melody to a similar tempo, to the closing piece “Beatus vir” (Monteverdi) which was sung with joyful gusto, finishing almost at a frenzy.
Purcell’s compositions are best described as “lively”, and held the attention of the audience with their variety, particularly “Come ye Sons of Art” which is divided into an overture and seven sections which include solos as well as significant parts for the choir.
It may be argued that the nave of St Nicholas’ Church is a little narrow to accommodate a choir of the size of B.C.S. but the more intimate setting enhanced the sound quality, and blended the voices together. Those who are familiar with the standards set by the choir members will be aware of the precision with which they make their entrances, sing their parts with clear diction and harmony and finish each piece in unison. On this occasion, they exceeded their own high standards and reached new heights of excellence. All of this is not just a reflection of the dedication and hours of practice on the part of choir members, but also of the expertise and leadership of David Burgess, who, again, not only chose a most enthralling selection of music, but guided the choir to give of its best.
The choir was assisted by a group of stringed and wind instrumentalists, who provided a fitting accompaniment to the singing, and two of whom played a moving oboe duet of Handel’s “Arrival of the Queen of Sheba”. The five solo vocalists also displayed their virtuosity with exquisite performances to enhance the overall atmosphere of the evening.
For those who were privileged to attend, it was a most rewarding evening, and it was a great shame that more were not able to be present to show appreciation to a renowned local institution performing at its peak. In the event, we in Wickham should consider ourselves fortunate, as the performance due to take place the following evening at Botley was cancelled as the weather had worsened. It is understood that B.C.S. will return to perform at the 2020 celebration at St. Nicholas, but they would be welcome at any time!

Spring Concert 2018

CANCELLED concert at All Saints Botley tonight 18th March 2018 due to the adverse weather.

Review of Christmas 2017 Concert


All Saints’ Church Botley was filled to capacity on the evening of 16th December for the annual Christmas concert by Botley Choral Society. Unfortunately, David Burgess the Musical Director was unwell and not able to conduct the concert, but Mark Dancer ably stood in, with his task being made less onerous by the many weeks of practice which the choir had undertaken.

The first half of the concert comprised seven carols which were largely unknown to the audience, originating from the 14th Century to a recent composition. The older carols had been arranged by modern composers such as John Gardner, William Walton, David Willcocks and John Rutter.

The carols offered a variety of style and rhythm, ranging from “When Christ was born of Mary free”, (15th Century), beautifully sung in well blended rich harmony a capella to Bob Chilcott’s “Where riches is everlastingly”, set to a rumba and which ended with great panache. The backing was provided by two pianists and a group of six percussionists, all of whom played with great enthusiasm, ensuring that most of the carols were sung in a lively manner, and it is a tribute to the choir members that their articulation of the words kept pace with the rapid tunes. It is possible that some of the audience expected more well- known carols to be performed, but the unusual choice made was enjoyed, and received with loud applause.

The main work was “Carmina Burana” a cantata by Carl Orff which was first performed in 1937 and which reflects much of the musical style of that time. For the texts Orff took 24 verses from a collection of 13th Century poems discovered in the early 19th Century near Munich, his native city. They were written by various itinerant scholars in low Latin, old French and early German, and mingle Christian piety and pagan hedonism, amounting to an uninhibited celebration of the pleasures of life, particularly love. Bed and bawdiness feature strongly in them, together with a love of strong drink. The work is divided into three parts, entitled “Spring”, “In the Tavern” and “Love” (which more accurately should be “Lust”). To spare the blushes of those of a sensitive nature, the English translation in the programme used language in more genteel terms. The underlying theme of the cantata is the turning of the wheel of fortune, with the first segment being entitled “O Fortuna” and which is repeated as the last segment.

Originally, the work was scored for choir and orchestra, but was transcribed in 1956, with Orff’s blessing, for two pianos and percussion, resulting in the instrumental parts being much more complex than the choral parts. There are complicated rhythms and frequent changes of metre, and at times the sheer speed of the numbers creates a challenge to articulate unfamiliar words. Some pieces require to be sung with great verve, and the choir magnificently showed all of the attributes needed to meet the challenge.

The soloists, Sarah Rowley (soprano), Adrian Green (tenor) and Malachy Frame (baritone) sang from the pulpit, which ensured that their voices projected well to all parts of the church. They all sang beautifully, but special mention must be made of Adrian, as in most performances of the cantata the tenor sings two sections in falsetto, but it was impossible to tell when he made the transition to falsetto from bel canto.

The pianos and percussion were very spirited, and at times overwhelmed the choir, but overall the exhuberance of both the choir and instrumentalists blended well to create an uplifting occasion, which was received with acclaim by an appreciative audience.