Anzac Day in the Abbey: or, a return to Angleterre – the reminiscences of a scholar

And so it was, after an early start, certain members having an adventure in Fiumicino Airport, and a fond farewell to 2 of our sopranos, we finally arrived back in London – this time flying into Gatwick rather than Heathrow. Unfortunately there was to be no rest for the wicked and it was straight off to St Mary-Le-Bow (with a short detour for those whose accommodation was on the way) for the penultimate performance of our tour. It was nice to see some familiar faces in the audience, including people who had sung with us on our previous London leg, friends from Australia and the UK, and the indomitable Yvonne Kenny.

Sunday saw us taking time off to breathe before our final engagement. For some it was an opportunity to go traipsing off to Oxford, for others a chance to sleep in or do a final bit of sightseeing around London. That afternoon, after battling the crowds of the London Marathon, we congregated back in Cheneygates for a rehearsal of the Anzac Day music. It was nice to be back in this building that had treated us so well during our first week in Britain, and, in my mind at least, it was a fitting bookend to the tour.

Anzac Day dawned and we rose with it, bright and early in order to pass through security at the Abbey. Now we were running to a strict schedule and soon enough we were in the nave doing a final rehearsal and timing our music, as well as taking a quick group photo around the Tomb of the Unknown Warrior. Then, in seemingly no time at all, the doors were thrown open and the Abbey was opened.

As the gathering crowds took their seats we sang music of Schütz and Parry, as well as Australian music by Joe Twist, and our very own Owen Elsley and Brooke Shelley. Representing Australia and the community of St James’ to the world, this was our final chance to shine. And shine we did.

As our last notes died away and gravity once again took over (no doubt much to the delight of Newton, whose earthly remains we were perched atop of) we were struck with how much we had accomplished: 30 performances over the course of 27 days, comprising 52 different pieces of music. We had done it, and no one had perished or been maimed. We had evolved as a choir. All that was left now was for us to remain in place for the service proper and we would be finished.

Once the procession of dignitaries had started, to the delight of some in the choir Prince Harry passed within metres of us, and the ‘special service choir’ (comprising the men of the choir and female sopranos – the boys being otherwise indisposed) began to filter past, I came to the realisation that this would be the first service we wouldn’t be singing whilst in the Abbey; a thought met with a curious mixture of relief and sadness. After sitting through the emotionally charged service, joining in with the congregation at the hymns and belting our National Anthem with pride, it was finally time for us to relax and let our hair down.

A few members of the Abbey Choir (friends of Warren) took us out for lunch after the service and regaled us with stories of their time in the choir. It was interesting to hear about their lives, especially given the duration some of them had been there! Finally, after grabbing a few brief moments to myself, we reconvened at the Red Lion (one of over 400 pubs of that name in Great Britain, according to the sign outside) for the start of a night celebrating the end of a successful tour.

For me this has been the opportunity of a lifetime. When I first auditioned to be choral scholar with the choir I never dreamt that I would soon be jetting off on my first international trip to sing in some of the most iconic churches and cathedrals in the UK and Europe. Although being given the opportunity to visit these historic buildings – Westminster Abbey, Notre Dame, Stephansdom, and St Peter’s Basilica amongst others – is in and of itself an experience, and being afforded the opportunity to sing in them is most certainly unforgettable, it all pales in comparison to the memories made of the people it has been shared with; the friendships that have been created and strengthened with people old and new – these are the experiences I truly never want to forget. Although it was said many times on tour that “what happens on tour stays on tour”, I hope that in this case it is not true. Because of these people I have been changed for good.

–Patrick Baker

Highlights of Italy by Pip Dracakis

The penultimate leg of our month-long tour was quite possibly the most special and memorable part of our trip. Our 5 days in Italy were well spent soaking up (and contributing to) the unbeatable Mediterranean culture, delicious food and warm climate. We were given the wonderful opportunity to travel by coach to several picturesque villages outside Rome (Ninfa, Norma, Cave and Palestrina), where we were warmly greeted by enthusiastic locals and acquaintances of Bella Woods. The generous hospitality shown to us over the course of those 5 days warmed the cockles of my heart.

Our first performance on Roman soil was given at the Baldini Hall, Piazza Campitelli. I was struck by the unapologetic, rapturous applause from the audience, who despite being few in number (“A third of the audience are in the front row!” – Warren), filled the room with multiple exclamations of “Brava!” at the conclusion of the concert.

[Poster for our concert at Baldini Hall]

On our third day in Rome, The Choir of St James’ gave a concert at the beautifully ornate, Baroque Church of Saint Ignatius. Here, we presented a slightly different program interweaving movements of Palestrina’s Missa Ut re mi fa sol into a mix of other works including Pater Noster by our own talented Owen Elsley and Rutter’s Hymn to the Creator of Light (two crowd favourites). 

Singing Palestrina’s music was something the Choir liked to do a lot of in Italy, especially in the town of Palestrina! Sicut cervus became a bit of a signature piece and certainly a poignant encore at our concert in the town of Palestrina (where we were fortunate enough to be given a free guided tour of Palestrina’s house). We also enjoyed singing Sicut cervus with the Sistine Chapel Choir when we were invited to sit in on their rehearsal one afternoon in Rome. Some members of The Choir of St James’ even managed to tick “singing at St Peter’s” off the old bucket list with a secret rendition of Sicut cervus at 8:30am on our final day in Rome.

Exhausted, sunburnt and well fed with our bellies full of pasta and Chianti, we all convened to the balcony of our beautiful villa in Cave on our last night in Italy. We all reflected on the many amazing musical and culturally rich experiences we had shared over delicious cheese, bread and more Chianti. 

[Saint Ignatius Church]

As I continue to reflect on this incredible trip, I feel increasingly grateful for the opportunity to have shared beautiful choral music with not only my incredibly talented and disciplined peers, but also with people who live on the other side of the world. Having heard each audience’s appreciation for The Choir of St James’ and the ways in which our performances touched them spiritually and emotionally affirms to me the significance of the Choir’s first European tour. This echoes the passion for singing in an ensemble shared by its members and it especially acknowledges Warren’s unwavering hard work, musicianship and leadership.

Pip Dracakis

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Singing Palestrina's Sicut cervus in The Basilica Cattedrale di Sant'Agapito Martire, Palestrina

22 April 2016

One extraordinary day in Italy - Philip Murray

           

After several weeks spent revelling in the big-city buzz of London, Paris and Vienna, a journey into the countryside on our second day in Italy provided a welcome change of scene. Thanks to some invaluable family connections and lots of groundwork on the part of Isabella Woods, we were to perform that evening in Norma, a hilltop town southeast of Rome, and as guests of the local choral society (the Coro Polifonico “SS Annunziata”) we had been invited to enjoy a day visiting some of the attractions of the local area. Within an hour’s drive from Rome, on a sunny spring morning, we found ourselves suddenly among picturesque villages, vineyards and olive groves.

           

The first stop was the Giardino di Ninfa, a famous landscape garden established in the early 20^th century by descendants of the noble Caetani family over the ruins of the medieval village of Ninfa. Few of us knew what to expect, but its reputation as the most beautiful and romantic garden in the world proved to be no exaggeration – what a miraculous, ravishing dream of a garden it was. Maintained entirely by hand without the use of chemicals or pesticides, it is considered one of Italy’s finest natural monuments. To stroll among the rose bushes, the hanging wisteria and beds of yellow irises, under the oak trees and cypresses and among the oranges and pomegranates (which we were told are never picked but left as food for the native birds); to stand on the old stone bridge and gaze down into pure spring water so impossibly clear that it seemed almost like some optical illusion; to walk along the former moat, now a snowy carpet of arum lilies and a playground for fireflies; to touch the crumbling stone walls of ancient houses and churches covered with climbing roses, no longer living buildings but mere shapes amongst the profusion of nature, distant echoes of lives lived long ago and testament to the endless cycle of death and new life; to see this beautiful place, and above all to be treated to a private tour by Stella, the director’s wife, was an exceptional privilege.

           

After losing ourselves for a couple of hours in this new Eden, it was time for lunch. We were driven to the town of Norma itself, on the mountaintop overlooking Ninfa, where we were invited to relax in a beautiful courtyard in the Mediterranean sunshine while a superb three-course meal was generously provided by our hosts. As the day unfolded, it became increasingly clear how much effort had gone into organising a special day for us. After lunch we were taken to a local chocolate factory and museum, and were given a tour of the most eclectic collection imaginable of machines and objects related to the processing, manufacturing and eating of chocolate, rather dusty and faded but clearly the work of a collector with an obsessive passion and an eye for the bizarre. One shelf alone, of various antique pots, kettles and samovars used for the serving of drinking chocolate, was staggering in its variety. As we left, in another gesture of generosity we were each presented with a small gift of chocolate sauce.

By now the afternoon was drawing on, and there was some concern about finding time for a rehearsal before the concert that evening. But a further visit had been planned, to the hilltop town and fortress of neighbouring Sermoneta, which proved to be another astonishing treat. We were granted a private visit to the medieval castle at the centre of the town, also built by the Caetani family, and although having only a short while to look around, it was well worth it. This was a castle to satisfy the most fantastic imaginings of any child, with a moat, two drawbridges and a portcullis, turrets with narrow winding staircases, high crenelated battlements, a secret passageway within the walls, a courtyard with a well, large chambers and banqueting halls, and a spectacular view over the terracotta rooftops of the town and the entire surrounding region of Lazio. It was a fleeting visit but one I will not forget in a hurry.

We returned rather late to the church of Santissima Annunziata in Norma for a hasty rehearsal, but were thwarted by an unexpected service taking place in the church. Tired, thirsty and slightly frazzled after a long day, we freshened up as best we could in the church offices nearby, and were able to have few minutes’ warm-up in another church next door. There was a feeling of slight unease at not having a chance to try out the performance space, but it was too late to worry about it. Waiting in the piazza for the mass to finish, the late-afternoon sunlight became increasingly golden on the rooftops, and in the absence of traffic in this old part of town the only sounds were gentle ones: human voices echoing off the cobblestones, faint singing from the congregation at mass, the sonorous clang of an ancient bell somewhere nearby, the twitter of swallows roosting. The smells of an evening meal in preparation drifted down from an upper window. The beauty and peace of the place, and a magical feeling of being very far from home and from the cares and routines of daily life, cast a spell that swept away any anxiety.

When we at last entered the church, it was bustling with people. It was apparent by now that the concert would not be starting on time, but from the hum of expectation it clearly didn’t matter. We were ushered into the sacristy, where the windows looked over a rocky precipice and down to another stunning view of the fertile plains of Lazio far below, now hazy and golden in the evening light. Church staff and concert organisers busied themselves around us. An elderly but sprightly nun with a twinkle in her eye chatted to Warren in French, then took out her smartphone and befriended him on WhatsApp.

To begin the concert, the choir of Norma honoured us with a performance of their own, of a simple Italian piece, sung with a warmth and unity of spirit that were quite moving. Then it was our turn, and once again we had the joy of hearing our voices blend in yet another absolutely stunning acoustic. The lively and responsive crowd seemed to enjoy it too. Palestrina’s “Sicut cervus” went down particularly well. We were greeted with a generous ovation and were showered with more gifts, this time of local olive oils and tapenades. Already overwhelmed by such generosity, we were then treated to a sumptuous dinner at a local restaurant - four courses this time, with freely flowing wine - in the convivial company of our new Italian chorister friends. In return we sang for our supper, performing a few of our more popular items, which were also well received by another party celebrating a 40th birthday in the same part of the restaurant.

After dinner both choirs proceeded outside to the piazza for a photo shoot and farewell speeches. The effusions of emotion at how lives had been touched and spirits uplifted by our performance, and the enthusiastic promises of future visits and meetings, were quite overwhelming. For any musician, simply to know that one has moved or given pleasure to an audience is reward enough; to be greeted in return with generosity and hospitality on such a scale was truly humbling.

Philip Murray

1/5/2016

Wien - Liza Lilli

Kirche am Steinhof

The time in Wien was, for me, deeply enriching. Once again we sang in beautiful buildings: in the Kirche am Steinhof and the Stephansdom. Each church had its own particular challenge from the point of view of the acoustics. Clearly Otto Wagner hadn't received or acted upon any advice from acoustical engineers in his stunning Jugendstil masterpiece of the St Leopold Church in the 'Stone Court', and making music in a space with a 7 second echo certainly requires careful attention to phrasing in order that the result is more than a bath of sound. Marko assured us that the concert had come across well and so we will choose to believe him!

The experience of singing in the Stephansdom, on the other hand, was one where a little choir could easily feel consumed by the cavernous space. For me the rehearsal, in which I sang consciously contemplating the fact that Haydn had sung there before me, was one of the many highlights of the tour. As can be the nature of performance, parts of the service were disappointing, but that is insignificant... Our intention had been positive and our contribution to the service was appreciated. 

Schubert's glasses

In my free time I raced from one place of 'musical interest' to another: 1) the Schoenberg centre, 2) the house in which Haydn lived, which also contained a room dedicated to Brahms, 3) the house in which Schubert died, 4) the house in which Beethoven wrote is famous Heiligenstädter Testament, a letter written to his brothers in which he laments his increasing deafness. 

Reading details of the composers' lives and walking the streets and entering churches where these great people have previously been changes my relationship with them - enabling me to sense the humanity contained within the spiritual-physical essence of their music. 

The deep gratitude I already had for the gift of music in my life was certainly intensified by these visits. Concurrently the dilemma of how to receive and reconcile this blessing with the glaring problems of the world was once again opened as we were repeatedly confronted with beggars even amidst the grandeur of the Viennese buildings. I have yet to successfully negotiate this issue but it is in wrestling with seeing both dark and light that we become truly human and that we are given the possibility of being witness to God moving in mysterious ways and thus we are blessed. 

Paris - Rob Hansen

After bidding farewell to Chris, Ria, Nancy & John, Fr John, and our warm community of friends in Exeter, the choir boarded flight BE3505 from Exeter International to Charles de Gaulle, marking the beginning of the continental leg of the tour.

Leaving the airport just in time for Parisian peak hour, our two bus drivers nimbly weaved their way to our hotel in the heart of the sixth arrondissement adjacent to the Sorbonne. As we made our way through the city, we were treated to an exciting glance at two of our momentous concert venues: L'Eglise de la Madeleine and the towers of Notre Dame. It was also a pleasure to see sopranos Katherine Norman and Amy Moore waiting for us at the hotel, both of whom were joining us for the European leg of the tour.

With only a little over 48 hours in France, we kept ourselves very busy: fitting in lunches, museums, and four concerts in two days. The first of these was at the relatively small and unassuming Church of St Louis-en-L'Île in a narrow street on the Île de la Cité. The 18th century building had a stunningly generous acoustic that suited both our Renaissance motets and the crunching chromaticism of Francis Poulenc. Our small but appreciative audience made us feel very welcome, and it was a confident start to our European performances.

A quick trip across town found us at La Madeleine, the towering neo-classical monument to Napoleon which sits in the heart of the eighth arrondissement. It was a surreal experience to sing in the church whose former organists include Camille Saint-Saens and Gabriel Fauré, and the iconic building attracted a bigger audience. It is a total privilege to turn up to these magnificent and historical spaces and then perform for an audience that we've never seen before made up mostly of locals, tourists and passers-by. After an hour to showcase our music, it is incredibly rewarding to see their response.

Early the following day we arrived at Notre Dame for a short concert at 11am. At 10.15 we were met at the side gate and whisked away into the choir room in the basement of the cathedral for a short  rehearsal. Our host would then take us up at 11 for half an hour of singing on the steps of the high altar. The majesty of the building and the large crowds of people passing through made it hard to find the right balance between concentrating on the music and taking in our surroundings.

After taking in one last museum, that afternoon we made a special trip to Valmondois, a small town of 1200 people an hour outside of Paris. There we were met by Laurent de Gaulle, second cousin of our soprano Bella Woods and town councillor. We were welcomed with open arms by him and the rest of the town, including the mayor and deputy mayor, and after a well-received concert in the beautiful medieval church, we were grateful to be treated to a feast with the locals in the town hall.

Rob Hansen

England welcomes the choir from the Antipodes

We were welcomed with some hesitancy, perhaps from previous Australian choir tours to the UK, where it seemed The Choir of St James’ King Street, on our first tour to the UK and Europe, had to prove our worthiness to sing in three of the great churches of England.

As part of the extended family of the regular choir, I embraced this wonderful opportunity with great excitement and trepidation. The gravity of the lack of musical training and experience compared to the others in the choir made me tremble fearfully. It is a delicate situation for the choir to have additional members like me slot in comfortably and bound by uncertainty I was acutely aware I needed to sing well to avoid causing any damage!

All fears melt away once you walk through the cloisters, past the curious crowds of tourists, through the great wooden door into the Abbey, where even more curious tourists and expert professionals eye you up and down, walk under the glorious organ loft and into the quire. As you stand in the choir stalls, heart in mouth, it is not the pressure of the singing act you are about the commence that hits you, but the history and utter beauty of the place you are standing. Daily office has been sung in the Abbey since the tenth century by the first monks, to the present day, even by our illustrious Director of Music himself. And here we are, continuing this beautiful tradition in our own humble way, the choir from Sydney, Australia. Our mouths open, our voices release, our song is upliftingly beautiful, our choir is exquisite. Singing the Lord’s song in a strange land, all heads turn our way, mesmerised. We pass the test.

It felt so natural, arriving at the Abbey, rehearsing in Cheyneygates prior to assembling in the cloisters to be met by our verger, then to enter the Abbey, to a prayer by the residing Canon-in-residence prior to commencing the service. Awesome, and so humbling. A complete privilege. The work load incredible. There wasn’t a great deal of time for sightseeing and exploring one of the greatest cities of the world, as the Choir sang five Evensongs, one Matins and two Eucharists in five days. 

Some services were harder work than others, but each service was sung from the heart and the congregation (and perhaps more importantly the clergy and vergers) were enthralled by our singing and generously embraced our presence with enjoyment and thanks. We may be fortunate enough to receive an invitation to return once again to this monument of the Church and choral music.

As the sun set on a beautiful spring day in April, we contemplated the next parts of our tour. Would we have sung the highlight of our tour already?

I love Winchester. I have since I visited in 2010. The region grows the best watercress. Winchester is another seriously significant city in English history, and the Cathedral is splendid, with the longest nave in Europe. Some of the cathedral was under scaffolding, which did nothing to dampen our enthusiasm for singing there. A world premiere for a certain Mr Elsley, meeting friends and pupils of Kenneth Leighton and a drop in from our dear friends Andy Lumsden and David Hurley of King Singers fame made our two evensong services here intimate and homely. The Wykeham Arms must be one of the most inviting pubs in South England; take your dog!

Leaving Winchester, we drove past Stonehenge, stopped quickly in Salisbury (Salisbury Cathedral with the highest spire in the UK) and on to Exeter by an expert coach driver.

Exeter cathedral is supremely elegant and the Choir seemed to thoroughly enjoy singing there; I for one found the quire the most manageable space to sing in. The cathedral staff seemed the warmest and enthusiastic of our tour; holding a small reception for us, and engaging with great interest with each of us. I think they’d like to have us back; we proved our worth easily. 

What really seemed to make us embrace Exeter with such affection was the family like hospitality shown to us through Warren’s close friends as ex lay vicars and choral scholars from when he was a choral scholar. Lucian Nethsingha seemed so intrigued by us; Paul Morgan turned pages for Marko, and Phil and Nicky Hobbs were consummate hosts and generous in so many ways. For us it felt like family, and indeed we did not necessarily sing the highlight of our tour at the start.

It has been a privilege to be able to sing with the Choir on this tour, and such a deep felt honour to be able to sing daily office in these wonderful churches, and it is only through the opportunities that Warren has given us at St James’ to have been able to achieve such a dream, and with that we all give our gratitude and appreciation.

Lincoln Law

Old & New Friendships - Helen Hughson, 11 April

So far on tour we've had many opportunities to catch up with friends and supporters of the choir. Many of us have friends and family living in the places we're visiting, and it's been a pleasure too to see several past members of the choir and former St James' parishioners. We've loved meeting many of Warren's friends and former colleagues who have come to see the choir along the way.

We've also been delighted to be introduced to some composers whose music we've sung, and many fellow musicians, and we hope these can be enduring connections! Some names that may be familiar to readers:

  - We were very pleased to briefly meet Roxanna Panufnik, whose mass we sang as the second Orchestral Mass earlier this year. We'll be performing a part of that setting later on in the tour. 

 - Simon Kiln, who produced our Metamorphosis CD, was in charge of the sound recording for our two concerts in the UK. Simon is an old friend of Warren's who works at Abbey Road Studios, and a couple of choristers were delighted to be given a behind-the-scenes tour of that famous place on our last morning in London.

  - David Hurley, counter-tenor with the Kings Singers, came to Evensong at Winchester Cathedral and joined us for a meal afterwards. David and the rest of the Kings Singers worked with the choir in Sydney a few years ago. 

  - In Winchester we also met composer Francis Pott, whose 'Nigra Sum' we premiered in our Song of Songs concert last year.
  - Andrew Lumsden, Director of Music at Winchester Cathedral, flew back immediately after the end of his own choir's tour in Italy to catch up with us at Winchester. Andy spent time with us in Sydney last year and we enjoyed catching up with him.
  - John Nixon, a former colleague of Warren's at Westminster Abbey, joined us for Evensong at Exeter.
 - Lucian Nethsingha, former Director of Music at Exeter Cathedral, joined us for services at Exeter. Lucian was a student of Herbert Howells, and we enjoyed quizzing him about one of our favourite composers. Lucian also conducted Warren when he was a choral scholar at Exeter so, as Warren says, 'it's all his fault'.

Finally, Kenneth Leighton's Second Service Evensong canticles is a favourite for many of our singers. When we sang them at Winchester Cathedral we were delighted to find out that David Lumsden, who edited the score, was in the congregation, along with visitors from Edinburgh who knew and were taught by Leighton himself. They spoke highly of him and were very complimentary about our performance.

We don't hold out much hope of catching up with Palestrina or Poulenc later on in the tour, but we look forward to making more connections with the composers and musicians we'll meet along the way!

EXETER: 8^th-10^th April 2016

As a Brit, a highlight for me on this choir tour has undoubtedly been seeing some parts of England that were previously unfamiliar to me. I had never – to my memory – been inside Winchester Cathedral, nor had I visited Salisbury or Exeter (going through Exeter St David’s on the train doesn’t count). Having been a longstanding member of the choirs at Westminster, Winchester and Exeter cathedrals, Warren’s extant connections to these fine establishments have enabled the Choir to perform there during our tour, thus getting a taste of English cathedral life. We are very grateful to him for all that he has arranged by way of performances, travel and accommodation.

We reached Exeter by coach from Winchester (where we sang from 6^th-8^th April), via Salisbury and its cathedral, where we had one hour to look around (having also seen Stonehenge en route). I knew almost nothing about Exeter before we arrived, except to say that I knew it had a famous cathedral. Perhaps the main reason I had not heard much about the city is because so much of it was decimated during World War II such that, despite various rebuilding exercises, it is fair to say that in this respect it has never quite recovered. Nonetheless, there remains a charm to the city and some lovely things to see. We stayed in a Premier Inn 5 minutes’ walk from the cathedral, which was clean and comfortable.

The cathedral itself is a sight to behold, standing alone on a green in the centre of the town. Among other factors of distinguishing significance, it has the longest unbroken stretch of Gothic vaulting in the world; two Norman towers; the tallest bishop’s throne in the world which, along with the Choir stalls, is beautifully carved of wood; a mediaeval gallery from which musicians used to perform (and which we viewed); a beautiful organ from 1665, which includes a rank of 32 foot stop Contra Violone pipes in the cathedral south transept (which when necessary lend oomph to proceedings!); and several significant marble tombstones and memorials, not least one to erstwhile organist of the cathedral, and well known composer of Anglican choral repertoire, Samuel Sebastian Wesley, and one to the curiously named ‘Rev’d Nutcombe Nutcombe’.

The Choir very much enjoyed singing several services over a three day period: evensong twice, and Sunday Choral Eucharist. The latter was interesting because we had to sing in the open as it were: there is a contemporary wooden altar in the middle of the cathedral; we were seated on chairs in a semi-circle facing the West end of the cathedral, and sang all our music in this formation.

In terms of the city itself, as aforementioned sadly much was destroyed in the War. However, I visited two remaining mediaeval churches (though there may be others): St Stephen’s and St Martin’s. The latter is situated on the corner of an ancient street as well as facing out onto the equally ancient cathedral close, and is of an interesting stone, reddish in hue. It was founded in 1065 and, though small, has some interesting memorials. St Stephen’s is mediaeval but gradually fell into ruin (not to mention also being damaged in the war) over the centuries. Unfortunately almost nothing except the principal building shape remains though during its restoration some interesting archaeological finds were made, which are documented within the church. However it has been completely restored on the inside, thus enabling the church to be used regularly within the community, especially for charities of all kinds.

Exeter’s cathedral close itself is still host to an array of mediaeval buildings and is very pretty; some are of the aforementioned red-brown colour; some are whitewashed. In terms of our social excursions, before one of the evensong rehearsals some of the Choir greatly enjoyed a traditional Devonshire cream tea in Tea on the Green, which is a lovely old tea room on the green. But our social highlight was undoubtedly our last night in the city, Sunday 10^th April, where we were invited to dinner by Warren’s old friends Phil and Nicky Hobbs. The Choir arrived en masse at their delightful hilltop home with open fire, where they hosted us alongside several of their good friends. Phil and Nicky were extremely warm towards us, and we were treated to an absolutely wonderful dinner after which we sang a couple of songs for their entertainment. It was hugely convivial, a lot of fun, and a great opportunity to see something of the “real” Exeter. We are very grateful to Warren, Phil and Nicky for their kindness in arranging this.

In sum, our visit to Exeter gave us some valuable new connections, rounded out our experience of a majestic and varied set of mediaeval English cathedrals (Westminster Abbey and Winchester having come before), and prepared us appropriately for the splendour of those on the Continent.

Isabella Woods – soprano

Winchester - Owen Elsley

The second stop on our grand tour of Europe was Winchester. As a much smaller city, Winchester was a nice change of pace after London, with its quiet and beautiful Cathedral green and old cobbled streets.

The high street, with its age-warped  shop facades that evoked an almost Harry-Potter-esque atmosphere, comes to life with a market around lunchtime which was frequented by the choir for bacon baps, cheeses, chicken tikka wraps, coffee and more. A short walk around town takes you past the ruins of the old Bishop's castle and along the walls of Winchester college, one of the oldest and most prestigious schools in the UK. From the top of St Catherine's hill, after a slightly chilly but nevertheless pleasant walk, we could see the beauty of the surrounding countryside before returning through the water meadows and pass the Hospital of St Cross, the oldest charitable institution in the UK.

And right in the centre of town lies the stunning Winchester Cathedral. Though one of a long list of churches we had seen and will see on this trip, Winchester was very beautiful. With the longest nave of any Gothic cathedral in Europe, it had a huge acoustic and a big organ to match. Of particular interest was the large west stained glass window. It was destroyed by Cromwell's forces during the Civil War, but after the Restoration, townsfolk and clergy who had collected shards brought the pieces together and attempted to reassemble the window. When this proved too difficult, the pieces were reinstalled randomly, giving the window a truly unique, almost modernist, look which was truly something to behold.

Like Westminster Abbey, Winchester Cathedral was one of the churches at which Warren sang as a lay clerk. It has been great for the choir to experience singing, not only in such beautiful buildings, but in ones that have a such a personal connection. We not only got to hear the stories and memories from Warren's time in Winchester but we got to see the sights, go the places and be part of that experience. Highlights for me included a delicious curry near the Guildhall and having a drink with friends in the Wykeham arms, one of Warren's old haunts.

And I now have a connection of my own with Winchester. For our second evensong in the cathedral the choir sang a set of canticles (Magnificat and Nunc Dimittis) written especially for the choir. The solo sections were written for specific voices and people, all of whom were on the tour, which made the performance even more special. To have my own composition performed by such a phenomenal choir in such an awesome building was a very special experience and one I will not soon forget.

Preparing the dots - Ria Andriani

For me, this tour has been a big learning curve in terms of music preparation. In the UK, the choir performed the daily offices of evensong and Eucharist using different canticles, psalms, anthems and masses as well as a set of responses. There were at least 30 pieces of music to prepare altogether. Using my Braille music catalog as well as other blind choral scholars’ I was able to obtain some of the pieces which had been Brailled beforehand. The rest I transcribed using different methods.

Through the scholarship I was able to pay people to read the notes on the print score whilst I enter it into the Braille note-taker. In this occasion, Luke Iredale and Alistair Nelson have been such a great help. I've also used a typesetter to prepare some of the music which is kept in a special format and converted it to Braille using computer software called the Goodfeel Suite. I was fortunate to be able to emboss most of my music, which made reading much easier.

Every morning during the tour I would spend some time going through the music of the day. The challenges varied, as some of the pieces were more familiar than others. These left a few hours to do a quick sightseeing trip or explored the venue where we were singing which were awe-inspiring enough.

Reflection: 3 April 2016 - Sung Eucharist, Westminster Abbey
by Brooke Shelley

Who’d have thought that, almost 20 years after it was written, a fourth year student work would still be being performed, and in Westminster Abbey at that. Even after more than 48 hours, it still hasn’t sunk in that my mass setting, Messe sans regretz, was sung by the Choir of St James’ King Street in such a renowned building. Not something that happens every day…

We were lucky to have been joined by former members of the choir who made themselves available on the day: Elizabeth Dobbin, John Dudley, Nancy Long, David Hayton, and Lachlan Hughes.  Elizabeth Dobbin was one of the singers for whom the mass setting was originally written, so it was lovely to have her back to sing her part.


I could tell the choir and Warren were working really hard to do their best and, I must say, the result was excellent.  There were times during the service when I would have liked to have sat back and enjoyed the experience more – to bask in the reality of performing my music in the Abbey – but that wasn’t the primary reason I was there!

Blog Post 1 - Luke “Kicks Iradello” Iredale

As I write, the Choir of St James’, bedecked in our beloved robes and surplices (in various states of post-travel wrinkliness) has just processed - or should I say ‘glided?’ - out of Westminster Abbey following our first Evensong in this magnificent, historical church. To describe the experience as a remarkable privilege and an unforgettable feast for the senses is putting it mildly. To hear that 32-foot organ reed peal off into about three seconds of echo is something I’m sure we’ll never forget.

Following our journey from Sydney aboard some kind of giant metallic bird (an “aer-o-plane”, I am semi-reliably informed), we touched down in Heathrow on Tuesday morning to be greeted by superb weather. Upon exiting Westminster Station on my way to the Abbey in the afternoon - Hello, Big Ben! (he is, indeed, big. Definitely bigger than the average clock, I would say) - I did get pelted with hail for three or four minutes before, thankfully, the sky cleared and we were able to have a mosey about town, aided by our London-savvy tour guide Mr. Warren Trevelyan-Jones. We said hello to the Queen at Buckingham Palace, took tea at Fortnum and Masons and enjoyed a pint (well, pints) at a quaint pub in Covent Garden.  Unfortunately I cannot recall the name of the pub - let’s take a guess, using the traditional English method of taking two nouns and separating them with a conjunction: The Fox and Ironing Board?

Taking a tour around the Abbey on Wednesday, we were struck by the sheer history of the place; among the interred are Sir Isaac Newton, Georg Frideric Handel and choir favourite Herbert Howells. The vastness of the building and the detail of its architecture is breathtaking,  as was being amongst the ornately carved, candle-lit choir stalls.

A friendly verger, Andrew, took us through the procession method at the Abbey ahead of Evensong on Thursday. At five minutes to five pm it was on. Having managed not to trip over in the procession (as I have nearly done so many time at St James’), the organ play-over left us with a D-flat major chord then it was Introit time, which for this and for our first few services at the Abbey was Healy Willan’s charming Rise Up, My Love.

The service, for me at least, and I’m sure I speak for much of the choir, was a wonderful blend of the familiar and the enthrallingly new. Obviously we in the choir are no strangers to the order of the Evensong service, but to a packed congregation and beneath the Abbey’s gothic arches it took on an almost magical quality. From the Introit to the closing Amen of the Nunc Dimittis (Gray in F minor, a gutsy and powerful setting), the service was a most rewarding way to kick off the tour.

Next time on the Choir or St James’ tour blog*: I fail to correctly point a Psalm verse;  Owen Elsley becomes Mayor of London; and three choristers fall into the Thames in a river cruise gone wrong.

*These predictions pending the accuracy of the crystal ball which I b

Prologue - Helen Hughson - Tuesday 29 March

In the end, as so often happens with events you’ve been looking forward to for a long time, the tour came upon us remarkably quickly.

The first 3 months of 2016 were a whirlwind of activity for the choir, with our 3 Orchestral Masses, regular Sunday & Wednesday services, the first of our subscription concerts, and all the additional work we do in Holy Week. Add to that extra meetings and rehearsals to prepare for the tour, two extra fundraising concerts, a crowdfunding campaign, a raffle, and a trivia night, and it’s no surprise that we found ourselves heading to the airport almost before we knew it.

But the seeds for the tour were planted almost two years ago, when Warren booked us into sing for a week at Westminster Abbey. Preparations really began in earnest last year, when the rest of the itinerary began to take shape, and plans for fundraising were laid out (even our fantastic video promoting the choir, put together by Dave Power and his team at Power Creative, was filmed and edited before Christmas last year). In addition to his regular work with the choir, Warren has been extremely busy organising performances, booking flights and accommodation, and planning the music list months in advance (not something we are used to at St James’!).

Our final week in Sydney was typically full on: Wednesday lunchtime concert, Maundy Thursday Eucharist, Good Friday liturgy and Tenebrae, 6am Easter Vigil and Easter Sunday Eucharist. We also had to prepare for four weeks away from our workplaces, farewell friends and loved ones (including a few from the regular choir who sadly can’t join us for the tour), and somehow find room for our robes in our already over-full suitcases - so there were many late nights!

Nonetheless, on Monday 28^th March (the day after Easter Sunday), the majority of the touring group were checking into Etihad flight EY 451 to Abu Dhabi with no less than 3kg of music safely packed in our hand luggage, ready to start our big adventure. With healthy doses of Sherlock, Louis, Star Wars, Utopia and The Slap, and a few G&Ts under our belts, we tried to snatch what little sleep we could on the plane (I personally failed miserably). Along the way we befriended fellow travellers, including a future Benedictine monk – although our levels of exuberance didn’t seem too pleasing to one lady who sat near us and wore a very glum face for the entire 14 hours of the first leg! After a few hours’ layover in the middle of the night in Abu Dhabi, where we treated ourselves to the odd combination of an Arabic breakfast and a glass of wine in an airport cafe, we continued on to London in supreme comfort on an A380. We ate like kings along the way (some travellers, who shall remain nameless, even indulged in an extra hot breakfast!). Soon enough we touched down at Heathrow, and headed for the Tube to meet our billets and settle in for a week of singing and exploring!

Before we get going on the rest of the tour, we must acknowledge several people who have made this all possible:

-          Marko Sever, our organ scholar, who has sorted and prepared music for no less than 30 performances for us with incredible efficiency. The choir room was quite a sight to behold in the weeks before we left!

-          Bella Woods, one of our sopranos, who has been intensively involved in planning and organising a number of our performances in Europe, and helped organise accommodation in several places

-          Doug & Janet Jones, who have been incredibly supportive of the whole tour

-          Sarah Kim, for helping us to organise performances in Paris

-          Richard Abraham, who arranged billets for many of us in London

-          Beverley Simpson, who sourced some amazing prizes for the raffle and trivia night

-          Warren Trevelyan-Jones, of course, for his tireless commitment to making this the best tour we could possibly imagine – we are all incredible excited and can’t wait to get started on an epic month of singing!

Countdown: 1 week to go!