Thank you and your singers so much for the
marvellous singing on Ash Wednesday. There
have been lots of complimentary remarks about the
sound you made. I think a number of
congregation were a little apprehensive about the
fact that the Cathedral Choir were not going to be
there, but came out feeling that the worship had
been of a very high standard indeed.
Many thanks and I am sure we will be in touch again
to ask you to sing here again.
Lyndhurst Parish Church has been the venue for
all three of Lauda’s concerts.
Conductor Adrian J. Taylor says the choir formed
towards the end of 2000, “to perform both
early and modern music, with not much in
The audience was small, on this occasion, because
of competing events. But the standard was
impressive, showing what a rich sound can be
produced by only ten singers, and without
accompaniment. The music was mostly from the
Italian and English renaissance, including an
antiphonal mass by Orlando di Lasso, and
Byrd’s ‘Ave verum’. In
order to alleviate the solemnity of di
Lasso’s mass, ‘Drop, drop, slow
tears’ by Orlando Gibbons was inserted half
way through. Antonio Lotti’s very
special eight-part setting of Crucifixus, the
middle section of the Creed, concluded the first
half of the concert, with one singer giving a good
demonstration of how to ‘perform’ when
one’s breath has totally run out.
The second half consisted of only two works;
firstly, Palestrina’s ‘Stabat
Mater’, a very long motet; and, secondly,
Herbert Howell’s Requiem, the only relatively
modern work in the programme. For many of the
audience, it was Howell’s piece for which
this concert will be remembered.
Once again, Adrian’s programme notes were as
entertaining as they were informative: and his
additional comments between items helped our
understanding of what was going on.
Let’s hope there will be more such events,
but with bigger audiences.