Repertoire and Reviews

St. Cross Church, Winchester, 8 July 2017

with Nigel Gardner, chamber organ; Andrew Kerr, violone, lirone; Pat Glynn, theorbo

Heinrich Schütz (1585-1672): Deutsches Magnificat
Schütz: O lieber Herre Gott
Carlo Gesualdo (c.1561-1613): Ave dulcissima Maria
Giacomo Carissimi (1605-1674): Jepthe
Claudio Monteverdi (1567-1643): O mio bene
Monteverdi: Confitebor terzo alla francese
Johann Hermann Schein (1586-1630): Alleluja.Wohl dem, der den Herren fürchtet
Johann Michael Bach (1648-1694): Fürchtet euch nicht
Johann Christoph Bach (1642-1703): Fürchte dich nicht
Johann Sebastian Bach (1685-1730): Singet dem Herrn

Winchester Cathedral Quire, 1 April 2017

with Nigel Gardner, chamber organ; Andrew Kerr, violone

Martin Luther (1483-1546): Mit Fried und Freud ich fahr dahin
Heinrich Schütz (1585-1672): Musikalische Exequien
Carlo Gesualdo (c.1561-1613): Tenebrae factae sunt
Johann Kuhnau (1660-1722): Tristis est anima mea
Johann Christoph Bach (1642-1703): Der Gerechte, ob er gleich
J. C. Bach: Fürchte dich nicht
Marc-Antoine Charpentier (1643-1704): Le reniement de Saint Pierre            

Winchester Cathedral, Mattins, Eucharist and Evensong, 8 January 2017

with David Baker, organ

Philip Radcliffe (1905 - 1986): Preces and Responses
Charles Villiers Stanford (1852 - 1924): Jubilate in B flat
Orlande de Lassus (1532 - 1594): Omnes de Saba
John West (1863 - 1929): Fantasy on two well-known Christmas carols
Francisco Guerrero (1528 - 1599): Missa 'Puer qui natus est nobis'
Guerrero: Ave Virgo sanctissima
Garth Edmundson (1892 - 1971): Toccata ‘Vom Himmel hoch’
Anon. trad. arr. Weyrauch (1897 - 1977): Maria durch ein Dornwald ging
Kenneth Leighton (1929 - 1988): Preces and Responses
Leighton: Magnificat and Nunc Dimittis ‘Collegium Magdalenae Oxoniense’
Felix Mendelssohn (1809 - 1847): When Jesus our Lord
Mendelssohn: Sonata No. 3 in A major

Winchester College Chapel, 19 November 2016

with Rachel Leigh, cello

Charles Villiers Stanford (1852-1924): Eternal Father
Edvard Grieg (1843-1907): Ave Maris Stella
David Popper (1843-1913): Étude. No. 10 (from Forty Études for Cello Solo. Op. 73)
Johann Sebastian Bach (1685-1750): Suite No.1 in G major for solo cello
Prélude, Courante, Menuett I, Menuett II, Gigue.
J.S.Bach: Fürchte dich nicht
Francisco Guerrero (1528-1599): Missa Puer qui natus est nobis
Gloria, Sanctus, Benedictus, Agnus Dei.
Orlande de Lassus (1532-1594): Videntes stellam Magi
Guerrero: Ave virgo sanctissima
Thomas Ravenscroft (c.1592-c.1635): Remember O thou man
Peter Fellows - Tenor
Anon.: Maria durch ein Dornwald ging , Traditional,arr. based on
Johannes Weyrauch (1897-1977)
Arnold Bax (1883-1953): I sing of a maiden that is makeless
Anon.(18thC.): Veni Emmanuel
Adrian Peacock: Venite, gaudete!

St. Cross Church, Winchester, 2 July 2016

with David Glynn, piano

James MacMillan (b.1959): Data est mihi omnis potestas
Jonathan Dove ( b.1959): Into thy hands
Arvo Pärt(b. 1935): The Deer's Cry
Francis Poulenc ( 1899-1963): Quatre petites prières de Saint François d' Assise
Claudio Monteverdi: Non piu guerra, pietate
Monteverdi: A un giro sol de' begl' occhi
Monteverdi: Sfogava con le stelle
Benjamin Britten (1913-1976): The Ballad of Little Musgrave and Lady Barnard
Percy Aldridge Grainger (1882-1961): Shallow Brown (solo - Sarah Conlon)
Felix Mendelssohn (1809-1847): Sechs zweistimmige Lieder,op.63
Arvo Pärt: Which was the son of.....
Max Reger(1873-1916): Nachtlied

St. Luke’s Church, Stanmore, Winchester, 19 March 2016

Anon./Thomas Tallis (c.1505-1585): Ecce tempus idoneum
Robert White (c.1538-1574): Organ: Christe qui lux es et dies
White: Christe, qui lux et dies IV
Tallis: In manus tuas
Tallis: Lamentations of Jeremiah I & II
Orlande de Lassus (1532-1594): Penitential Psalm no.1
Hans Leo Hassler (1564-1612): Ad Dominum cum tribularer
Heinrich Schütz (1585-1672): So fahr ich hin zu Jesu Christ
Johann Hermann Schein (1586-1630): Unser Leben wäret siebnzig Jahr
Johann Christoph Bach (1642-1703): Fürchte dich nicht
J. C. Bach: Der Gerechte, ob er gleich zu zeitlig stirbt

Winchester Cathedral, Mattins, Eucharist and Evensong , 3 January 2016

with David Baker organ

William Smith (1603-1645): Preces and Responses
Charles Villiers Stanford (1852-1924): Jubilate in B flat
Hans Leo Hassler (1564-1612): Verbum caro factum est
Tomás Luis de Victoria (1548-1611): Missa O magnum mysterium
Giovanni Gabrieli (c.1554/7-1612): O Jesu mi dulcissime (1597)
Charles Wood (1866-1926): Oculi omnium
Bernard Rose (1916-1996): Versicles and Responses
Thomas Tertius Noble (1867-1953): Magnificat and Nunc Dimittis in B minor
Herbert Howells (1892-1983): Long, long ago

Winchester College Chapel, 21 November 2015

with Christina Gregson flute

Maurice Duruflé (1902-1986): Quatre Motets sur des thèmes grégoriens
Francis Poulenc (1899-1963): Un soir de neige
Claude Debussy (1862-1918): Syrinx (flute)
Poulenc: Quatre petites prières de Saint François d'Assise
Heinrich Schütz (1585-1672) : Wie lieblich sind deine Wohnungen
Giovanni Gabrieli (c.1554/7-1612): O Jesu mi dulcissime (1597)
James MacMillan (b. 1959): O radiant dawn
Anton Bruckner (1824-1896): Ave Maria
Bruckner : Virga Jesse
Hans Leo Hassler (1564-1612) : Verbum caro factum est
Johann Sebastian Bach (1685-1750) : Komm Jesu, komm

St. Cross Church, Winchester , 11 July 2015

with CANZONA, director Theresa Caudle

Claudio Monteverdi (1567-1643): Cantate Domino
Monteverdi: Domine ne in furore
Monteverdi: Exultent Caeli
Karen Williams (alto), Paul Shepherd (tenor)
Alessandro Grandi (1577-1630): Bone Jesum
Sarah Best, Sarah Conlon (soprano)
Giovanni Gabrieli (c.1554/7-1612): Canzon Noni Toni a 8 (1597)
Gabrieli: Canzon XI a 8 (1615)
Giovanni Battista Crivelli (d. 1652): O Maria mater gratiae
Giovanni Bassano (1550/1-1617): Dic nobis Maria
Gabrieli: O Jesu mi dulcissime (1615)
Monteverdi: Lamento della Ninfa
Sarah Conlon (soprano)
Johann Hermann Schein (1586-1630) : Intrada a 4
for cornett, violin, recorder and basso (Banchetto Musicale, Leipzig 1617)
Samuel Scheidt (c.1587-1684) : Canzon super Cantionem Gallicam
Schein : Da Jakob vollendet hatte
Schein : Die mit tranen saen
Heinrich Schütz (1585 -1672) : Mein Herz ist bereit
Peter Fellows (tenor)
Schütz : Jauchzet dem Herren (Psalm 100)
Schütz : Alleluya! Lobet den Herren (Psalm 150)
Sarah Best, Sarah Conlon (soprano); Charlotte Lloyd, Helen Childs (alto);
Marcus Reeves, Nigel Wissett-Warner (tenor); Robert Normand, Nick Symes (bass)

Winchester Cathedral Quire, 28 March 2015

with The Rose Consort of Viols; Theresa Caudle, Rebecca Miles violin; Andrew Kerr violone; Pat Glynn lute; Nigel Gardner organ

Claudio Monteverdi (1567-1643) : Christe, adoramus te
Monteverdi : Adoramus te, Christe
Johann Schop (c.1590-1667) : Intrade a 5
Johann Hermann Schein (1586-1630): Allemande & Tripla (VII) a 4
Schein: Padouana, Gagliarda, Courente, Allemande, Tripla (Suite X)
Schein: Ich will schweigen
Johann Kuhnau (1660-1722): Tristis est anima mea
Samuel Scheidt (1587-1654): Galliard a 5 (25), Courante a 5 (23), Canzon a 5 super ‘O Nachbar Rolan’
Dietrich Buxtehude (1637-1707) : Membra Jesu nostri
Sarah Best, Sarah Conlon (soprano), Susie Fellows (alto),
Peter Fellows (tenor), Jon Sketchley (bass)

Winchester Cathedral, Mattins, Eucharist and Evensong , 4 January 2015

with David Baker organ

Humphrey Clucas (b.1941): Preces and Responses
Herbert Howells (1892-1983): Collegium Regale: Jubilate
John Joubert (b.1927): Nowell
Giovanni Pierluigi da Palestrina (1525-1594): Missa Aeterna Christi Munera
Felix Mendelssohn (1809-1847): Am Neujahrstage
Charles Wood (1866-1926): Oculi omnium
Michael Walsh: Preces and Responses
Charles Villiers Stanford (1852-1924): Magnificat and Nunc Dimittis in A
Peter Warlock (1894-1930), arr. David Hill: Bethlehem Down

Winchester College Chapel, 22 November 2014

with Derek Beck organ

Benjamin Britten (1913-1976): Hymn to St Cecilia
Sarah Best (soprano), Karen Williams (alto), Nigel Wissett-Warner (tenor), Robert Normand (bass)
Peter Philips (c.1560-1628): Cecilia Virgo
Derek Beck: Fanfare & Toccata on 'Highwood'
Edward Elgar (1857-1934): They are at rest
Orlande de Lassus (c.1532-1594): Iustorum Animae
Heinrich Schütz (1585-1672): Selig sind die Toten
William H. Harris (1883-1973): Bring us, O Lord God
Gabriel Jackson (b.1962): Cecilia Virgo
James MacMillan (b.1959): Data est mihi omnis potestas
James MacMillan : Mitte manum tuam
J.S.Bach (1685-1750): Nun komm, der Heiden Heiland (BWV 659)
Juan Esquivel (c.1560- after 1623): Veni Domine
Francisco Guerrero (1528-1599): Oýd, oýd, una cosa
Guerrero : Virgen sancta. Sarah Conlon (soprano)
Guerrero : A un niño llorando Sarah Conlon (soprano)
John Joubert (b.1927) : Nowell

St. Cross Church, Winchester, 5 July 2014

with Richard McVeigh organ

Frederick Delius (1862-1934): Midsummer Song
Claude Debussy (1862-1918): Trois Chansons de Charles d’Orléans
1. Dieu! qu'il la fait bon regarder
2. Quant j’ai ouy le tabourin (Susie Fellows - alto)
3. Yver, vous n’estes qu’un villain
Kate Carslaw - soprano, Sandy Hardacre - alto, Paul Shepherd - tenor, Nick Symes - bass
Alfonso Ferrabosco (c. 1575-1628): So beautie on the waters stood
Young and simple though I am
Tell me, O Love A Dialogue between a Shepheard and a Nimph
Jane Sherriff - soprano, Peter Fellows - tenor, Pat Glynn - lute.
Arvo Pärt (b.1935): The Beatitudes
Will Todd (b.1970): Vidi speciosam
Jonathan Dove (b. 1959): Seek him that maketh the seven stars
Gerald Finzi (1901-1956): from Seven Unaccompanied Part Songs on poems by Robert Bridges:
I praise the tender flower
I have loved flowers that fade
Clear and gentle stream
Nightingales
Haste on, my joys!
Wherefore to-night so full of care
Edward Elgar (1857-1934) arr. McVeigh: Pomp and Circumstance March No. 4
Pierre Passereau (fl. 1509-1547) : Il est bel et bon
Claude Le Jeune (c.1528-1600) : Revecy venir du Printans
Clément Janequin (c.1485-c.1558 ): Le Chant des Oyseaux Clément Janequin (c.1485-c.1558 )
Jane Sherriff, Julia Fryer - soprano, Susie Fellows - alto, Marcus Reeves - tenor, Jon Sketchley - bass
Trad. English, arr.Langford : The Oak and the Ash
Julia Fryer - soprano, Paul Shepherd - tenor, Robert Normand - bass
John Rutter (b. 1945): It was a lover and his lass
Josef Rheinberger (1839-1901) : Abendlied

St. Luke’s Church, Stanmore, Winchester, 29 March 2014

with Pat Glynn lute, vihuela

Juan Gutierrez de Padilla (c.1590-1664): Deus in adiutorium meum intende
Padilla: Lamentations for Maundy Thursday
Anonymous 17th C: Miserere my Maker
Peter Fellows-tenor
John Dowland (1563-1626): If that a Sinners sighes be Angels foode
Alonso Lobo (c.1555-1617): Versa est in luctum
Johann Hermann Schein (1586-1630): Ich will schweigen
Herbert Howells (1892-1983): Requiem
Sarah Conlon - soprano; Susie Fellows - alto; Nigel Wissett-Warner - tenor; Jon Sketchley – baritone
Luis de Narvaez (fl. 1526-1549): Fantasia
Enrique de Valderrábano (fl. 1547): Pavana
Alonso Mudarra (c.1510-1580): Pleni de la misa de faysan regres de Josquin
Gustav Holst (1874-1934): Nunc Dimittis
Alison Coulter - soprano; Paul Shepherd - tenor
John Tavener (1944-2013): A Hymn to the Mother of God

Winchester Cathedral, Mattins, Eucharist and Evensong , 5 January 2014

with Jonathan Hope organ

John Reading (d.1692): Preces and Responses
Benjamin Britten (1913-1976): Jubilate in C
William Mathias (1934-1992): A babe is born
Claudio Monteverdi (1567-1643): Messa a 4 voci da capella (1650)
Colin Mawby (b.1936): Ave verum
Philip Radcliffe (1905-1986): Mary walked through a wood of thorn
Herbert Howells (1892-1983): Magnificat and Nunc Dimittis (Collegium Regale)
Kenneth Leighton (1929-1988): Preces and Responses
Johannes Brahms (1833-1897): Geistliches Lied

Winchester College Chapel, 23 November 2013

with Jonathan Hope organ

Benjamin Britten (1913-1976): Jubilate Deo
Johannes Brahms (1833-1897): Geistliches Lied
Herbert Howells (1892-1983): Take him earth for cherishing
Charles Ives (1874-1954): Variations on America
Ralph Vaughan Williams (1872-1958): Three Shakespeare Songs
Full fathom five
The cloud-capp'd towers
Over hill, over dale
Johann Sebastian Bach (1685-1750): Lobet den Herrn
J.S.Bach (1685-1750): Chorale Prelude: Wachet auf, ruft uns die Stimme (BWV 645)
Vaughan Williams: Five English Folk Songs
The Dark Eyed Sailor
The Spring Time of The Year
Just as the tide was flowing
The Lover's Ghost
Wassail Song
Michael Praetorius (1571-1621) / Jan Sandström (b.1954): Es ist ein Ros entsprungen
Colin Mawby (b.1936): Ave verum
William Mathias (1934-1992): A babe is born

St Cross Church, 6 July 2013

with period instruments directed by Theresa Caudle violin, Jean Paterson violin, Andrew Kerr violone, lirone, Hilary Brooks bass violin, Pat Glynn lute, chitarrone, Nigel Gardner chamber organ

Dieterich Buxtehude (1637-1707): Du Friedefürst Herr Jesu Christ
Patris Alessandro Grandi (1577-1630): Bone Jesu verbum
Jane Sherriff, Sarah Conlon (sopranos)
Grandi: O quam tu pulchra es
Paul Shepherd, Marcus Reeves (tenors); Jon Sketchley (bass)
Carlo Gesualdo (c.1561-1613): Ave dulcissima Maria
Joan Cererols (1618-1676): Serafin, que con dulce harmonía
Jane Sherriff, Sarah Conlon (sopranos), Susie Fellows (alto), Jon Sketchley (bass)
Francesco Rognoni (c.1550-c.1620): Susana d'Orlando. Modo di passegiar per il Violone over Trombone alla Bastarda
Andrew Kerr (violone), Nigel Gardner (organ)
Johann Sebastian Bach (1685-1750): Komm, Jesu, komm
Claudio Monteverdi (1567-1643): Chiome d’oro
Jane Sherriff, Sarah Conlon (soprano)
Gian Paolo Cima (c.1570-1630): Sonata a 2 per violino e violone
Theresa Caudle (violin), Andrew Kerr (violone), Nigel Gardner (organ)
Gesualdo: Dolcissima mia vita
Jane Sherriff, Sarah Conlon (soprano), Susie Fellows (alto), Paul Shepherd (tenor), Jon Sketchley (bass)
Monteverdi: Vago augelletto
Monteverdi: Hor ch’el ciel e la terra, Cosi sol d’una chiara fonte viva
Tarquinio Merula (c.1594-1665): Chiaccona – Canzone a due violini e violone
Theresa Caudle, Jean Paterson (violins), Hilary Brooks (bass violin), Pat Glynn (chitarrone), Nigel Gardner (organ)
Monteverdi: Beatus Vir

Winchester Cathedral Quire, 23 March 2013

Carlo Gesualdo (c.1561-1613): Miserere
Gesualdo: Tenebrae factae sunt
Johann Sebastian Bach (1685-1750): Jesu meine Freude
Diogo Dias Melgás (1638-1700): Lamentação de Quinta Feira Santa
Chitarrone: Pat Glynn, Organ: David Glynn
Abraham Megerle (1607-1680): Peccator et Consolator (duet)
Peccator: Jane Sherriff, Consolator: Sarah Conlon
William Cornysh (d. 1523): Woefully arrayed
James MacMillan (b.1959): Miserere

Winchester Cathedral, Mattins, Eucharist and Evensong, 6 January 2013

with Paul Wright organ

Kenneth Leighton (1929-1988): Preces and Responses
William Boyce (1711-1779): Jubilate Deo in C
Herbert Howells (1892-1983): Here is the little door
Giovanni Pierluigi da Palestrina (1525-1594): Missa brevis
Palestrina: Videntes stellam Magi
John Blow (1648-1708): Let my prayer come up
Herbert Sumsion (1899-1995): Preces and Responses
Sumsion: Magnificat and Nunc Dimittis in G
Felix Mendelssohn Bartholdy (1809-1847): When Jesus our Lord

Winchester College Chapel, 24 November 2012

with Paul Wright organ

Benjamin Britten (1913 -1976): Choral Dances from Gloriana
Arvo Pärt (b. 1935): Magnificat (1989)
Catherine Hutchinson-Soprano
Herbert Howells (1892-1983) : Organ: Master Tallis's Testament
Charles Villiers Stanford (1852-1924): O for a closer walk with God
Gabriel Jackson (b. 1962) : O sacrum convivium
John Tavener (b 1944) : Funeral Ikos
Edward Elgar (1857-1934) : They are at rest
Elgar: There is sweet music
Will Todd (b.1970): Vidi speciosam
Maurice Duruflé (1902-1986): Chant Donné (en hommage à Jean Gallon)
Duruflé: Prelude sur l'Introit de l'Epiphanie
John Joubert (b. 1927): O Lorde, the Maker of al Thing
Paul Edwards (b. 1955): No small wonder
Francis Poulenc (1899-1963) : Quatre motets pour le temps de Noël

St Bartholomew’s Church, Hyde, Winchester (Hyde900), 20 October 2012

with Kingsgate Consort of Viols and Pat Glynn lute

Benjamin Britten (1913-1976): Choral Dances from Gloriana
1. Time
2. Concord
3. Time and Concord
4. Country Girls
5. Rustics and Fishermen
6. Final Dance of Homage
John Coprario (c.1570-1626): O poor distracted world
Robert Ramsey (d.1644): When David heard
John Coprario: When pale famine
Thomas Weelkes (1576-1623): When David heard
John Coprario: O grief
Richard Dering (c.1580-1630): And the King was moved
Thomas Vautor (fl. 1600-1620): Melpomene, Bewail
John Dowland (1563-1626): Lachrimae Antiquae
Alfonso Ferrabosco II (c.1575-1628): Three Almains a 5
Thomas Tomkins (1572-1656): Know you not
Paul Mealor (b.1975): Four Madrigals on Rose Texts
1. Now Sleeps the Crimson Petal
2. Lady when I behold
3. Upon a bank
4. A spotless rose
Alfonso Ferrabosco II: Pavane in C
John Coprario: Fantasia a 5: Chiu pue miravi
Henry Purcell (1659-1695): Of all the instruments that are
?Francis Cutting (fl.1571-96)/Alfonso Ferrabosco II: Cuttings Galliard
William Cornysh d.1523: Hoyda, hoyda, jolly rutterkin
Orlando Gibbons (1583-1625): The Cries of London Parts 1 & 2

Church of St Cross, Winchester, 7 July 2012

Hildegard von Bingen (1098-1179): Cum processit factura digit Dei
Marcel-Joseph Godard (1920-2007): O Pere des lumieres
Francis Poulenc (1899-1963): Seigneur, je vous en prie
Pablo Casals (1876-1973): Salve Regina
Wilhelm Friedemann Bach (1710-1784): Organ solo: Fantasia in G major, Scherzo in G minor, Trio in G minor, March in C major (from Eighteen Pieces for Musical Clock)
Sethus Calvisius (1556-1615): Singet dem Herrn ein neues Lied
Johann Kuhnau (1660-1722): Tristis est anima mea
Johann Hermann Schein (1586-1630): Herr, lass meine Klage
Johann Sebastian Bach (1685-1750): Organ solo: Fugue in G Major 'Gigue' (BWV 577)
Gabriel Jackson (b. 1962): Cecilia virgo
Charles Hubert Hastings Parry (1848-1918): I was glad
Edward Elgar (1857-1934), arr. for organ by George C. Martin: Organ solo: Imperial March (Op.32)
Charles Villiers Stanford (1852-1924): Coelos ascendit hodie
Stanford: Justorum animae
Stanford: Beati quorum via
Paul Mealor (b.1975): Four Madrigals on Rose Texts
1. Now sleeps the crimson petal
2. Lady when I behold
3. Upon a bank
4. A spotless rose

St. Luke’s Church, Stanmore, Winchester, 31 March 2012

with Pat Glynn vihuela

Tomas Luis de Victoria (1548-1611): Missa pro defunctis (1605)
Introitus: Requiem aeternam
Kyrie eleison
Graduale: Requiem aeternam
Offertorium: Domine Jesu Christe
Sanctus; Benedictus
Agnus Dei
Communio: Lux aeterna
Dismissal
Luys Milan (c.1500 - c.1560): Fantasia viii & Fantasia iii
Victoria: Missa pro defunctis
Motectum: Versa est in luctum
Absolutio: Libera me Domine
Luys de Narvaez (fl. 1525-49): Differencias sobre "Guardame Las Vacas"
David Alonso Mudarra (c.1510-1580): Triste estava el rey
Enrique de Valderrabano (fl. 1547): Fantasia
Victoria: Domine, non sum dignus
Carlo Gesualdo (c. 1561-1613): Tristis est anima mea
Gesualdo: Tenebrae factae sunt
Gesualdo: Caligaverunt oculi mei
Johann Kuhnau (1660-1722): Tristis est anima mea

Winchester Cathedral, Mattins, Eucharist and Evensong, 8 January 2012

with Paul Wright organ

Charles Villiers Stanford (1852-1924): Jubilate in B flat
Herbert Sumsion (1899-1995): Preces and Responses
Orlande de Lassus (1532-1594): Omnes de Saba venient
Giovanni Pierluigi da Palestrina (1525-1594): Missa brevis
Clemens non Papa (c.1510-c.1555): Magi videntes stellam
John Blow (1648-1708): Let my prayer come up
Herbert Howells (1892-1983): Magnificat and Nunc Dimittis (St Paul's Service)
Richard Shephard (b.1949): Preces and Responses
Howells: Long, long ago

Reviews

 

hosptialStX

 

The magical combination of the Ashton Singers with leading period instrument ensemble Canzona, performed to a very full St. Cross Chapel a brilliantly designed programme of early 17th century works associated with Venice.  Everything was delivered with real conviction and obvious affection for the music; nothing was lost in diction or tuning. This enthralling programme guaranteed a totally pleasurable finale this year’s Winchester Festival.
Hampshire Chronicle review of St.Cross Church, Winchester concert, with Canzona. July 2015. 

 -The music and singing were fabulous. Such professionalism, polish and attention to detail!
Written communication from a member of the audience, July 2015
 

'Ashton Singers captured the mood perfectly in Cathedral', displaying their long-standing rapport with early music. Well balanced voices, nuanced dynamics and phrasing gave complete stylistic integrity to a skilfully conceived programme. The five soloists from the choir were totally professional in projection, clarity, intonation and authentic ornamentation.
Hampshire Chronicle review of performance in Winchester Cathedral of Buxtehude ‘Membra Jesu nostri’, with The Rose Consort of Viols. March 2015.

-It was divine! It happens to be a period I am especially fond of and I was not disappointed.
Written communication from a member of the audience, March 2015

.the Ashton Singers provided music of tremendous range and variety, mixing old and new, well known and unfamiliar.  They delivered a well-judged and well prepared Festival programme appreciated by a large and discerning audience. 

Review of St Cross concert, July 2014, for the Hampshire Chronicle

..the very large audience was able to savour the perfect ensemble of the Ashton Singers.  Their phrasing and dynamic nuances are impeccable and their response to the music’s stylistic demands is always tasteful and authentic.  This was music-making of the highest order with the singers alert to each other and at one with their director.  
Review of St Cross concert, July 2013, for the Hampshire Chronicle

It was a total joy to hear you all on Saturday evening at St Cross's Hospital concert.  Thank you for a glorious evening.  I look hugely forward to your next performance.
Written communication from a member of the audience, St Cross concert, July 2013.

Thank you for a wonderful Ashton Singers concert last Saturday in Winchester Cathedral. The beauty of the singing matched the glory of the setting, and the whole effect was ravishing. It was a special evening!
The duet brought tears to the eyes. What a beautiful concert!
The whole programme was superb. The Megerle duet was wonderful - I wasn't the only one reduced to tears; the fabulously self-flagellating Gesualdo, and then the MacMillan ... the truly Scottish drone, the desolation, the plainsong moving between the different voice parts, and the final serenity - so challenging, but a challenge so well met and utterly memorable.
Written communications from members of the audience, March 2013 

A beautifully controlled rendition of an antiphonal chant by the 12th century mystic Hildegard von Bingen gave a magical opening to a concert that led us from monastically-inspired pieces to the polychoral peaks of the 17th century and onwards to the English ‘Renaissance’ of Parry, Stanford and Elgar, ending with the choral complexities of Gabriel Jackson and Paul Mealor.
Purity of tone, firm intonation and a tightly polished, well-balanced ensemble were the hallmarks of the evening. The Baroque pieces were served with a rich, full sound combined with a strong rhythmic sense, so important in this double choir repertoire.
Review of St Cross concert, July 2012, for the Hampshire Chronicle

Blend and unanimity were impressive throughout, both in the full climaxes and in the more restrained passages.  The performance expressed both the tension and the passion of Victoria’s music. Once again the Ashtons offered their audience fine music, spiced with some rarities, sung with commitment and great musicality.
Hampshire Chronicle, April 2012

Ashtons at their best: unanimous, clear-textured, responsive to the nuances of the words and the music. Ashton Singers have established themselves under their conductor Julian Macey as a group to listen to. They explore interesting repertoire, and once again their audience with have been delighted with what it heard.
Hampshire Chronicle, July 2011

Your concert in St Cross was absolutely wonderful. I think I enjoy it more every year! A perfect way to enjoy a summer’s evening!
We want to say how much we enjoyed the St Cross concert. The Ashton Singers were magnificent, as always. The whole evening was vintage Winchester!
I was deeply moved by the quality of the Ashton Singers concert in St Cross.
Letters from members of the St Cross audience, July 2011

Everything was special: the voices, the venue, the choice of music, the balance, the pitch – I could go on and on ....not only an interesting event but also a deeply moving spiritual experience.
Letter from member of the audience, November 2008 concert in Winchester College chapel

The Ashton Singers sang with lovely tone, vitality and commitment to the words, a performance of real beauty. ‘For he shall give his angels’ and ‘Lift thine eyes’ were highlights of the evening and the final quartet was outstanding. I’m sure you will have many singers wanting to join you.
From conductor of Winchester County Music Festival performance of Mendelssohn’s Elijah, for which Ashton Singers was the semi-chorus. Winchester Cathedral, May 2006

Music by Tallis in the first half revealed the admirable tone quality which this choir consistently produces....support of the interweaving lines had splendid control and when the voices came together a rich blend always pertained.  The second half showed the choir’s ability to associate with works of a very different style.  Balance between parts was excellent and all had considerable beauty and dignity with blocks of sound highly effective.
Hampshire Chronicle, July 2005

..to find so capable and musicianly a choir is more than any cathedral has the right to hope for. We are most grateful.
Letter from the Precentor, Winchester Cathedral, following one of our Sundays deputising for the Cathedral Choir

The very high standards we have come to expect of the Ashton Singers were once again in evidence.  ....the precision and confidence of attack never failed, even when entries were by just a few voices.... the singing never lacked the inner vitality which maintains the interest of the listener. Throughout, there was a perfect blend of lines and textures within the parts, with overall homogeneity of tone devoid of any dominance of individual voices.
Hampshire Chronicle, April 2001

Thank you so much for the wonderful contribution made by the Ashton Singers to our 1549 Mass...the music truly supported the Liturgy..and this was entirely due to the sensitive way in which the Ashton Singers performed.  The music seemed to waft in gently like the incense, which everyone, with the exception of the thurifier, coped with admirably. The pyrotechnic display in the chancel will live long in the memory!
Letter from the Rector of a church where Ashton Singers were invited to sing at a special mass. (Coals were accidentally dropped by the thurifier onto the chancel carpet during the Agnus Dei.) March 2000

This excellent choir of some 30 years standing, under their one conductor Julian Macey, continues to reflect his high standards of musicianship and taste.  Their warm, pure tone and seamlessly smooth lines were perfectly suited to music of the 16th century...
Hampshire Chronicle, April 1998

One associates the Ashton Singers primarily with unaccompanied music of an earlier period. But a 20th century programme, including works which few choirs could hope to tackle, brought performances of the highest possible standards in a concert. Not only was there excellent choral balance and total security throughout, but the expressive hands of conductor Julian Macey elicited the fluid tempi and subtle dynamic gradations which so much of it required....Schoenberg’s highly challenging Friede auf Erden is intensely chromatic but the considerable difficulties it poses were surmounted with confident aplomb.
Hampshire Chronicle, July 1996

...it was certainly one of the finest offerings made by a local choir that I’ve heard in my twelve years in Winchester...the singers were remarkably relaxed in a very demanding programme...this helped to produce a wonderfully free, unrestricted tone. The balance as well as the blend was impressive...such an imaginative programme, beautifully balanced in pace and style.
Letter from the organist of St Cross Church, following our concert there in July 1996

The delicate nuances in the smoothly flowing intertwining strands were wonderfully controlled, while the perfect blend within a part remained constant at all dynamic levels. Even when the voices were singing in eight parts, the security of entries never faltered.
Hampshire Chronicle, April 1995

Robert White’s Lamentations was the main work in the first half. In St. Luke’s ideally suited acoustic, I did not want this endless stream of glorious sound to cease - the choir and conductor working as one, performing this music to a standard rarely likely to be bettered. The real highlight was a brilliant performance of Jonathan Harvey’s I love the Lord...How well this was performed – the clarity of the top B from the soprano soloist, the angular vocal lines from both the alto and soprano soloists, and above all else the sheer tension created between soloists and choir lead to a totally convincing performance.
Composer Martin Read, Hampshire Chronicle, July 1994

The recital ended with Bach’s monumental Singet dem Herrn, a supreme test of choral expertise, but here holding no terrors for the singers.  It was a bravura performance, meticulously directed by Julian Macey. Brian Longthorne, Hampshire Chronicle, July 1993.
The control of the polyphonic lines was as excellent as the blend of voice within a part.  Economy of gesture ensured that there was no distraction from the profound effect made by this solemn music, but Julian Macey’s skilful guidance still ensured beautiful gradations of nuance...towards the points of climax.
Hampshire Chronicle, April 1993

The singing of early music has become something of a fashion, with a profusion of professional groups now in demand – Tallis Scholars, The Sixteen etc. It was gratifying therefore to hear an amateur choir by no means eclipsed by such big guns of the early music scene...many professional choirs are made up of singers who are soloists in their own right and have a corresponding vocal projection...which is inappropriate to the early choral style. The Ashtons, by contrast performed with an overall blend of tone and dynamic that made for singing of the highest quality and brought moments of great beauty.
Hampshire Chronicle, April 1991

Many thanks to you and all the Ashton Singers for coming last Sunday and singing marvellously: yes, that was the word used to me in respect of both services. A very big thank you to you and all for your singing, which once again earned golden opinions.
From the Precentor, Winchester Cathedral, October 1988 and April 1989