Irish and European Elements Delightfully Intertwined - Centenary Gala at Wigmore Hall

A version of this report has been shuttling around various editors' in boxes over the last ten days and has not yet appeared in a print slot. So better late than never, here is my report on a wonderfully entertaining and historic event in London last week. 

Gala Concert at Wigmore Hall: A 100 Years of Irish Culture in Britain  *****

Performers at the Wigmore Hall Gala Concert  photo Simon Jay Price 

HE Daniel Mulhall photo Simon Jay Price 

'Centenaries are useful signposts in the landscape of our collective memory'.  With this pithy observation, Irish Ambassador to Britain, Daniel Mulhall opened an eloquent address at the Wigmore Hall, London's prestigious chamber music venue . The evening was the centrepiece of a week of events at the Victorian hall celebrating a century of Irish culture in Britain.  Over half an hour, the ambassador roved over the cultural landscape of the last hundred years in the context of the political upheavals of the Rising and WW1,  referring to many writers, both modern and retrospective.  Musicians, Aloys Fleischmann Snr and Jnr with roots in Cork and Bavaria were referred to as typifying the intertwining of Irish and European culture. Sport wasn’t side lined with the GAA cited as Ireland's most important sporting body -' Its continued success is one of the legacies of the tempestuous decades prior to the attainment of independence in 1922.' You can read the full text of the ambassador's reflective address here 100 Years of Irish Culture Daniel; Mulhall at Wigmore Hall

The concert which followed was broadcast live on RTE LyricFM, BBC radio and streamed live online. The performers featured a quartet of Ireland's finest young singers with pride of place given to mezzo soprano, Anne Murray together with Finghin Collins, the RTE Contempo Quartet and ensembles from Dublin’s RIAM and London’s RAM. During the concert, Ambassador Mulhall  presented  Murray with a Wigmore Hall Medal in recognition of her long and distinguished international career. ‘She personifies everything that is great about this hall. We salute her commitment to the song recital as a concert going experience’ said John Gilhooly.

 The European classical tradition was exemplified by an all Schubert selection.  An impromptu played by Finghin Collins served as a starter before a selection of nine of Schubert's best loved lieder. Murray dressed in an emerald green gown began with An Die Music . Tenor, Robin Tritschler joined her for a lovely duet, Licht und Liebe. Gavan Ring took a night off barbering duties as Figaro in Dublin. His selection included a dramatic rendition of the Die Erlkonig.  Ailish Tynan added the familiar Ave Maria but in an unusual German version. With a name resonant with the Irish history, clarinettist, Michael Collins joined Tynan for one of the highlights of the first half, The Shepherd on the Rock. Tara Erraught also on a night off from Rossini closed out the first half with a cheerful Serenade augmented by a male quartet from the RAM. 

The second half opened with Gerald Barry’s String Quartet No 1, a work begun in 1985 and revised for the occasion. One felt it wasn't quite the Wigmore audience's cup of tea but it was lively and interesting and the tricky harmonic sections were well executed by the RTE Contempo Quartet.   We heard a  miniature by John Field, arguably Ireland's most famous 19th century cultural export.

John Gilhooly: Arts Manager Extraordinaire  Simon  Jay Price 

If the first half had the ambiance of a 19^th century Schubertiade, the second was a hooley in the parlour.  Having displayed their prowess at highbrow repertoire, the ensemble let their hair down with a selection of favourite Irish songs/ Two poignant Francis Ledwidge settings struck a sombre note among the cheerful drawing room ballads. The Ships of Arcady and A Blackbird Singing were most expressively sung by Robin Tritschler, a former BBC Young Generation artist.  The hard working accompanist, Jonathan Ware did justice to Michael Head's intricate piano arrangements.

'What did you most enjoy' I asked a 
gentleman in the next seat sporting a green tie for the occasion. Gavan Ring's barn storming rendition of The Kerry Dances had reminded him of his aunt from Kerry. It was her party piece, he said.
After the formal proceeding, a jolly party continued in the Wigmore Hall Bar where the Guinness was flowing and the canapés were every bit as good as you'd expect. There were informal addresses
by the Ambassador and  Mary McCarthy of Culture Ireland. Anne Murray replied to thank all for the accolade and the warm wishes and in self deprecating fashion recalled her first appearance the hall during the first round of the Ferrier Competition.

Where the Céiluradh event at the Albert Hall in2014 missed the mark in the stated aim of celebrating Irish Culture in Britain, the Wigmore Hall Gala Concert succeeded elegantly. It was terrific occasion, a night of words and music to remember and to be proud of. Maith sibh go léir!

Listen to Baroness Julia Neuberger on her experience at the very special @ireland2016 @wigmore_hall gala concert. https://t.co/1cjR2yjs3B

— Embassy of Ireland (@IrelandEmbGB) April 30, 2016

***********************************

Missed it ? Available to watch free online https://wigmore-hall.org.uk/wigmore-hall-live/live-stream

Related post: Ceiluiradh at Royal Albert Hall Some Musings  http://cathydesmond.blogspot.ie/2014/04/ceiliuradh-royal-albert-hall-some.html

Gala Set List 

10 Years of Piano Magic in New Ross

I spent a lovely day yesterday at the New Ross Piano Festival. My preview of the event appeared in Thursday's Irish Examiner The riverside town was blessed with Autumnal sunshine as patrons and performers congregated in the picturesque  St Mary's Church for two daytime events on the closing day.

To say Daria van den Bercken is a Handel entusiast is an understatement.It's bit like saying Rory McIlroy likes to play golf.  A trawl of her youtube videos shows her inveigling  passers-by to her appartmemt for impromptu recitals and literally taking to the air for a spot of extreme piano playing in her mission to spread Handelian vibes. You might expect that the Baroque master's work to be a bit dry and dusty. Not in Daria's hands. At a mid-day solo recital, the Dutch virtuoso imbued the Baroque master's work with such colour and feeling that was enthralling. There was charming Mozart too with a quirky Rondo a la Turca and a new piece bt Deirde Gribbin

The afternoon concert was a satisfying three course  banquet-a  shared effort .  The Fidelio Trio brought a stringy starter of Beethoven. There were dazzling Russian fireworks from Ukrainian pianist Alexei Grynyuk. Then onto a  generous dessert of all 21 of Brahms Hungarian Dances (which were originally written for 4 hands, the comprehensive notes informed us) performed-y Finghin Collins and Cedric Tiberghien. Who  doesn't like to sit down and eat a whole bag of bon bons occasionally. I don't think I've heard more than a handful of the most popular ones before.

Thanks for all the music @FinghinCollins @fideliotrio @dariavdb @TiberghienC @alexeigrynyuk @SchepsOlga pic.twitter.com/NAREFr9FFT

— NRPF (@newrosspnofest) September 27, 2015

We send a final burst of virtual applause to artistic director, Finghin Collins and the hard working team who put it all together and pull it off with such aplomb. It is a remarkable  achievement to keep this niche festival going off the beaten track with  such a consistently high calibre of performers into a tenth year. What is partcularly  pleasant is the sense of prevailing convivilality. It feels like a rather elegant house party as performers sit front of house to hear fellow artists and  Collins,administrator  Connie Tantrum with  fellow committee members mingle to greet patrons.
As a final blessing, a  magnificent amber moon glow beamed down as I drove home  adding a lttle extra sparkle to the close of a delightful day.

The Page Turner:

Green Room Snap Cooney & Collins 

Stunning virtuosity was on display at City Hall last night as Waterford Music opened their 74th season. Elizabeth Cooney violinist partnered by Finghin Collins were a wow at a buzzy gala occasion. Opening with  a brilliant Grand Duo by Schubert, they shimmered in otherworldy Szymanowski and calmed with the soothing elegance of Elgar and Faure. But enough about the dazzling duo. Today's post is all about me. Last night was a debut of sorts for me as I stepped in to take on that role I have been carefully avoiding for years and one  that very musicians covet- the page turner. Finghin Collins made it as easy as it could be with clearly pencilled in notes as to repeats and a clear nod when the moment apparoached. On the whole it was a thrilling experience to see at close range the notes on the page magically transferred to sonority. Should the job ever come your way here are Jessica Duchen's dos and don'ts of page turning from an article in Standpoint Magazine Just for a giggle,  a video clip of Victor Borge's encounter with a
page turner.



DO:

1. Check with the pianist in advance which repeats s/he is doing, if any, and exactly how they work.

2. Dog-ear the top right hand corner of each page for easy grabbing.

3. Make sure you've got something to sit on and can see the music clearly.

4. Remember that a lot of pianists read ahead so may need the page turned several bars before reaching its apparent end.

5. Agree with the pianist what signal s/he will give to alert you that it's time to turn.

DON'T

1. Wear anything intrusive: plunging necklines, dangly necklaces or ties, long floppy sleeves and bright colours are real no-nos and could distract in a variety of ways. (Of course some pianists might enjoy the plunging neckline, but that leads to a whole different set of problems.)

2. Obscure the music from the pianist's view with your arm while preparing to turn.

3. Simply smile sweetly back when the pianist smiles sweetly at you. He's probably indicating that if you don't turn that page NOW, he will put you through the mincer.

4. Eat anything containing garlic before the concert.

5. Take a bow

Extract from article by Jessica Duchen

Superb Sonata Team at Georgian Large Room

Romantic Clarinet Sonatas
Weber: Gran Duo Concertante
Brahms Clarinet Sonata No 1 in F
Reinecke Sonata Undine

Brahms Clarinet Sonata NO 2 E flat

Encore Field Nocturne arranged for clarinet & piano McHale


Something rather special was called for in planning a recital in  memory of impresario John Ruddock, a great friend and collaborator of Waterford Music. It  has been a while since we heard the mellifluous tones  of Michael Collins in the South East. (He last played here in '97 with pianist Vanessa Latarche.)   On  Thursday night,  he returned with  pianist  Michael McHale to the Georgian Large Room. This superb team  gave us a memorable night of Romantic sonatas that exceeded any expectations and more that did justice to the occasion. As you would expect of these international artists, each player showed impeccable skill and virtuosity. Collin's lyrical tone  was so lovely, that we could have happily  listened to him playing scales and arpeggios at length . McHale made the house Steinway C sing broadly with it's  top up and at times barely hum.

The mainstay of each half was a Brahm's sonata, considered to be the first chamber works to fully exploit the range of colour of the relatively new instrument. The Undine Sonata by Reinecke, a contemporary and supporter of Brahms was originally conceived for flute and a beautiful work of varying moods with gorgeous melodic elements and the work I most wanted to hear again. The programme of work  all cut from the same musical cloth might in less skilled hands have proved rather dull. Not a bit. Such was the musical empathy and sense of gaiety between the two players, the exchange between the equal virtuoso parts was often thrilling and  never less than interesting. At the end of each movement,  Mr Collins face broke into a serene  expression of satisfaction and contentment and the broad smiles from both suggested that they both  relished every note of their lively musical dialogue.

Rolling out the red carpet at City Hall Waterford

.

For an encore, we had a bonus- a  'world premiere' no less of  an arrangement by McHale  of a Field nocturne for clarinet and piano which drew murmurs  of approval from the audience in the elegant Georgian Room City Hall. It seemed fitting  that a new red carpet was laid on the City Hall Stairs just prior to the arrival of the two Michaels on this memorable night of superb musical collaboration.
    Most of the works in the programme can be found on an album (their 5th)  recorded for the Chandos label. 

Among the audience were Carmel and Noel McHale, Michaels' parents who had travelled from Belfast to join the audience.

 





Pat Grogan remembers a remarkable impresario





Q & A with Michael McHale   http://cathydesmond.blogspot.ie/2015/02/q-with-pianist-michael-mchale.html

Q& A with Pianist Michael McHale

Michael Collins. the most distinguished British clarinettist returns to the Georgian Large Room, Waterford on Thursday (Feb 12th). Collins is one of the many fabulous international artists introduced to Waterford-Music audiences by John Ruddock, the Limerick impresario who died last year.  He will be partnered by  Belfast native, Michael McHale.

I asked Michael McHale  for an e interview and heard about his new projects and his forthcoming recital. 

 At a mere 31 years, Michael McHale has moved off the lists of ‘rising stars’ and  has firmly established himself among the first rank of pianists with an international career that has taken him all over the world to major venues in Europe, Asia, North and South America. McHale has had a broad musical education. One wonders how he has managed to fit so much in. As a teenager he gigged in a jazz band  around Belfast as well as playing cello in youth orchestras. In tandem with his paino studies he picked up a double first at Cambridge.  He first came to prominence when he was among the prize winners of the Axa Dublin Piano Competition  competition in 2006. His reputation was cemented when he took first prize at the prestigious Terence Judd/ Hallé competition in 2009.

 In addition to developing a busy carer as a concert soloist and chamber musician, he has made time to record two solo albums. His debut solo recording The Irish Piano was released in 2012 and got rave reviews. British music critic,  Norman Lebrecht praised the album selecting it as CD of the week describing it thus- The Irish Piano' is a scintillating and sometimes whimsical recital that takes John Field as its starting point and spreads out across the whole of the island's music… McHale strikes just the right tone of contemplative wonderment and mischievous mythology… Fascinating from start to stop…"Just released on the Naxos label , McHales’ second solo album ‘Miniatures and Modulations’ combines the efforts of Belfast musicians across two centuries.  Composer Phillip Hammond dips into the treasure trove of airs collected by Edward Bunting at the 1792 Harp Festival and uses these ‘miniatures’ as the basis  for a set of freestyle  ‘modulations’.    New solo recording projects include an album of Schubert and contemporary interludes for Ergodos.

Little taster of our fab artists Michael Collins/ Michael Mc Hale from The Lyrical Clarinet http://t.co/1ndB2LO234 FEB 12 #Waterford
— Waterford-Music (@Waterford_Music) February 4, 2015

  In great demand as a concerto soloist, McHale is also much sought after as a chamber musician. In May he teams up with London Winds at the Wigmore Hall and he is just back from playing with James Galway in Lucerne. He will back in the studio to record an album of flute and piano works by Schubert, Prokofiev and Liebermann with the incredible Icelandic flautist Stefan Hoskuldsson (Delos label). 

 Reviews for previous albums have been unanimous in their praise. A  BBC Music Magazine review  noted  ‘ It’s hard to imagine this varied programme better played than it is here by Collins and Michael McHale. They’re technically impeccable and stylistically flexible’. 

How did the association with Collins come about?

I first met Michael at Barry Douglas's Clandeboye Festival in Co. Down, where we were both guest artists and performed some chamber music together. We got on really well, and subsequently Michael invited me to do a few duo recitals with him, and we've been performing together ever since! He's an exceptional musician so it is always a great pleasure to share the stage with him.

How did you arrive at the programme?

Our programme is inspired largely by our latest album, released this month, which features the Brahms clarinet sonatas and a sonata by Carl Reinecke. It's our fifth album together for the Chandos label and we were both delighted with how it turned out. We've also included in our concert programme Weber's virtuosic Grand Duo Concertant to spice things up even further!

Highlight of last year?

I was fortunate to enjoy many great musical experiences in 2014 both at home and abroad - but the highlight for me must be my début with the amazing Minnesota Orchestra at their newly refurbished Orchestra Hall in Minneapolis, performing Mozart's A major Concerto K.488 with my good friend Courtney Lewis conducting, live on radio, in front of a packed house and standing ovation - what a thrill!

What are you looking forward to most in 2015?

I'm very excited to perform one of my favourite works, Beethoven's 4th concerto, in July with the RTÉ NSO. And it's always a joy to return to London's Wigmore Hall, where I perform a coffee concert in May with London Winds and an evening recital in September with Michael Collins.

I also have a few new albums coming out in 2015, which I hope will be well received - there is a solo album of wonderful Irish music by Philip Hammond: Miniatures & Modulations (Naxos' Grand Piano label - see video), another solo disc of Schubert Impromptus op.90 with contemporary interludes (Ergodos label) and an album of flute and piano works by Schubert, Prokofiev and Liebermann with the incredible Icelandic flautist Stefan Hoskuldsson (Delos label).

With airports becoming increasingly stressful,  how do you cope with the hassle of travelling?

I guess it's an occupational hazard - although the one silver lining with travelling so regularly is that one can join up with the frequent flyers' clubs and then avail of the priority check-in, fast-track security and airline lounges - this can make all the difference and over the course of a year save a lot of time.

What did you study in Cambridge?

I read Music at Cambridge - and although the degree was almost entirely academic, I was fortunate to study many disparate areas of music, such as composition, analysis, history, score reading, figured bass realization, film music, science of music, etc etc - some of which has hopefully ended up informing and enriching my approach to performance.

Where is your home base when not travelling?

I'm based in London, and have been for 10 years, since studying for two years as a postgraduate at the Royal Academy of Music. It's a wonderful city, and when I'm there I regularly go to concerts and gigs of all different kinds of music. It's a real artistic melting pot, and importantly it also has many well-connected airports!

Any repertoire /chamber music collaboration on your wish list in the long term

Another great highlight of 2014 was working with Camerata Pacifica (in California) - as well as playing some solo Schubert, I enjoyed a wonderful collaboration with violinist Paul Huang (see video) - I hope very much to return to give more concerts with this superb ensemble in the future.

I know you've played in Waterford before (I am told you were first to play the new piano in Christchurch). . How do you think the acoustic /setting  will suit the combination?

Yes that was a lovely evening at Christchurch with their new Yamaha piano! I've played in Waterford many times, and I particularly love the Steinway piano at City Halls, it's a beautiful instrument, and impressively well maintained, too. My last two concerts there were a solo recital and a chamber music performance with the Cappa Ensemble. Michael has played all over Ireland in every possible venue you could imagine, stretching back to the 1980s and his great friendship with (the late) John and Doreen Ruddock, to whom we will be dedicating our concert. The setting will be absolutely perfect and we're both very much looking forward to it.

 Michael Collins and Michael McHale perform at The John Ruddock Memorial Recital Georgian Large Room City Hall Waterford Feb 12^th as part of Waterford-Music Season http://www.waterford-music.org/ 8pm  €18/5

McHale play new work by Hammond last night on  Bernard Clark's Nova slot RTELyricFM Listen back here http://t.co/g4CYU4IbOk 

Listen to Aedin Gormley's interview  http://t.co/B8Cp9lPInD

Review Brahms CD on Nemmblog.com

Soundtracks for Superpowers: Galway Mid Winter Festival

Note Jan 2016 : Looking back over the years' events, I noticed this report on the Galway Midwinter Festival languishing in the draft section.   This year's festival is  titled 'Captive Music from the Abyss' Read more about it here http://www.musicforgalway.ie/#!midwinter-festival/cyxe

Sunday, 18 January 2015, 15:00, Town Hall Theatre

HAYDN Quartet
SHOSTAKOVICH Quartet No. 8 in C minor, Op. 110
HAYDN Berenice che fai?
SHOSTAKOVICH Piano Trio No. 1 in C major, Op. 8 *
SHOSTAKOVICH Two Pieces for String Octet, Op. 11 * 

Tickets: €20. MfG Friends and Concessions: €16. Students (full time): €6. Festival Ticket: €55/€45 

I don't often get to Galway but a fine sunny day and an afternoon time slot and an opportunity to hear a range of top class performers in one fell swoop prompted me into making the trip from Limerick  and I was glad I did. Here is my review of the final concert of the Midwinter Music Festival. 

Review Midwinter Festival Galway

Soundtracks for Superpowers was the catchy  title for the Midwinter Festival in Galway , a weekend of chamber music performances juxtaposing two composers centuries apart whose work was inextricably linked to the powerful patrons they served.  In his second festival as Artistic director, Finghin Collins used the format which has served him well in the New Ross Piano Festival.  Rather than assign one ensemble to an event, a panel of high calibre performers participated in each performance thus imparting contrast of timbre and style. There was a convivial salon ambiance with Collins and his committee front of house to greet patrons and performers sat in the audience to listen to colleagues. These little things mean a lot.

What’s finer than a string quartet – two string quartets. On Sunday afternoon, the visiting Carducci Quartet were joined  by the home team, Galway Ensemble in Residence, the ConTempo for two pieces by Shostakovich.  Both quartets were well matched in their animated vigorous style of playing and it made a change to hear something more modern and robust than the Mendelssohn Octet.

Helen Kearns Soprano

Artistic Director Collins   Connaught Tribune 

The first half nicely set light against shade. The ConTempo  Quartet  opened with a playful  Haydn quartet, the Rider named for it’s jaunty opening bars. The quartet play with a unanimous energetic delivery that often sees them momentarily  lift off their seats.  The Carducci Quartet  are soon to  embark on performing all fifteen Shostakovich quartets around the world.  On Sunday we heard their  committed performance of the mighty eight, the most popular,  inspired by the destruction of Dresden in WW2. The young  quartet  delivered  the three solemn  largos with a degree of gravity and poise that conferred an almost  palpable stillness on the auditorium.

It was unforgettable! Thank you! @FinghinCollins @CarducciQuartet @HSOPKEARNS @GalwayMusicRes pic.twitter.com/f7ZpjDN8Zu
— Music for Galway (@musicforgalway) January 18, 2015 

A regular in opera houses in France and Spain, it was good to hear Irish soprano Helen Kearns perform here.  She brought out the drama of conflicting emotions in Haydn’s vocal piece, Scene from Bernice in a rich but controlled coloratura voice.  With a virtuoso pianist shaping the programme, it is no surprise that piano featured prominently over the weekend.  On Sunday , Collins was joined by Bogdan Sofie and Adrian Mantu of the ConTempo  in a spirited  performance of the youthful Piano Trio in C . The festival was officially opened by the Russian Ambassador.  All ten performers took to the stage at the Town Hall Theatre  for a communal final bow at the close of a stimulating event.

The Carducci Quartet launch their Shostakovich 15 project  at the Curtis Auditorium, Cork  Jan 29^th as part Cork Orchestral Society Series .

If you like the sound of this programme, check out the New Ross Piano Festival in September 

Proms Debut for Irish Trio in Billy Budd

Cast Billy Budd Glyndebourne

This is our moment
The moment we've been waiting for
these long weeks!
Now we'll see action
We're through with waiting
Now for deeds!

It was a glorious warm sunny day in London on Tuesday, perfect weather adding to the general good humour of the hundreds of queing promenaders. The crew of the HMS Indomitable  docked at the Royal Albert Hall for Proms no 60. The much lauded Glyndebourne Festival production  combining the large all male cast and chorus and the London Philharmonic Orchestra delivered a thrilling, gut wrenching performance of Benjamin Britten's nautical morality tale. Bass, Brindsley Sherratt's sinister black stockinged Claggert  hadn't a shred of a redeeming feature. Mark Padmore as the pale and tortured  captain and Jacques Imbrailo as the good hearted, doomed Billy were impressive, their emotional solos cutting through the cavernous space to pierce hearts all over the huge auditorium

The work was semi staged with singers in 18th century costume and the orchestra placed on platform between the soloists and the large chorus. The lighting was subdued enough to create an atmosphere but sufficient to read the libretto.  The visual and aural impact of seeing the brass and souped up military percussion of the LPO released from the sunken pit of an opera house was an added advantage  

An auspicious event from an Irish perspective in that no less than three young Irish singers made their Proms debut in the production.  Dean Power as Main Top , chorus member Padraic Rowan had a brief solo and Limerick baritone Brendan Collins also featured in the cast as Arthur Jones. Bravo ! So proud of you all .
I joined the crowd  gathered at the stage door to salute the performers as they disembarked for the last time. You can here my stage doors interviews with tenor, Dean Power and bass baritone, Padraic Rowan (chorus )   in the audioboos below.

This report is dedicated to artist and opera fan Sonia Schorman.

Related articles Curlew River at SJSS http://cathydesmond.blogspot.co.uk/2013/08/turning-japanese-curlew-river-from.html

The work is available to watch for a limited time via the link below

http://www.theguardian.com/music/video/2013/may/08/billy-budd-glyndebourne-2013-trailer-video

listen to ‘BBC Proms Debut Artist Dean Power and mother Maureen ’ on Audioboo

listen to ‘Padraic Rowan on making his Proms Debut’ on Audioboo

listen to ‘Padraic Rowan on making his Proms Debut’ on Audioboo

Song of Songs at Mount St Alphonsus

Composer Patrick Hawes talks about his choral work Song of Songs

MIC Choral Society Spring Concert at Redemptorist Church, Limerick
Song of Songs  Patrick Hawes
Requiem          John Rutter
Soloist             Carmel Conway 

The Redemptorist Church  was filled with a hush  of quiet anticipation with a hint of apprehension at the all modern programme chosen by choirmaster, Paul Collins  for the annual concert of the Mary Immaculate Choral Society. The ensemble was augmented by the Redemptorist Church Choir and accompanied by the Limerick Baroque Players. While Rutter is a familiar name in choral music, Patrick Hawes was new  to me .  The  Song of Songs were beautiful tonal settings of six texts of love poetry selected from the Old Testament, 'expressing desire. hope , confusion and joy'. It was almost but not quite the Irish premiere of the work published in 2009**. I note that the composer himself  conducted the work with the Louth Choral Society earlier this month . Review here 
The harp was placed in a central position splitting  the string orchestra in half  making a visually pleasing tableau. Soprano,  Carmel Conway's voice soared effortlessly to the higher registers above the sparse string lines and there was some lovely duets between Ken Rice on  violin and soprano.
The Requiem  by John Rutter was written in memory of the composer's father and first performed in 1985 . Of the seven movements, the setting of the psalm 130, De Profundis was particularly striking  The influence of the English Romantic tradition was heard in  the cello solo  played with great feeling by Tara-Lee Byrne which  struck the sombre tone before the choir crept in with the words -Out of the Deep.

The choir delivered the texts with a good range of dynamics and a satisfying firmness of attack in the rhythmic sections and the tone sounded rich in this acoustic. The audience lingered for a quite a while to savour the evening . The concert was introduced by Fr Adrian Egan who reminded the congregation that the occasion  was one of reflection and dedication to mark 150th anniversary of the opening of the  Redemptorist Church.



** Correction.  Mea Culpa. I assumed that the concert referred to in the article was  a concert from Louth Contemporary Music Society, Ireland which has a track record of programming major contemporary composers . I was mistaken and I am grateful to the composer for the clarification that the concert referred to  took place in Louth in Lincolnshire and not in Leinster as assumed . And indeed the event on Sunday was the Irish premiere of the work , Song of Songs by Patrick Hawes and all the more auspicious for that.

Enjoyed playing lovelyviola part of @patrickhawes beautiful choral work Song of Songs in Redemptorist Church #Limerick #Irishpremiere
— Fidleir (@fidleir) April 22, 2013

Who we met :   We enjoyed talking to Bernadette Kiely , director of music at St John's Cathedral about the music selected for the recent episcopal events and tenor Stephen O Shea on the forthcoming 50th anniversary of the Limerick Choral Union.

Related posts MIC Spring Concert 2012

View from the Viola