Worthing Baptist Church recently played host to a concert by Worthing Philharmonic Choir and its Director, Donovan Brown who, this time excelled as accompanist and organ soloist.  Rosemary Bruford seemed to relish her role as conductor.  Perhaps resulting from a last-minute change of venue, the audience was modest in size but we all enjoyed a splendid evening. Although only 30 in number, the Choir performed with confidence throughout.
The first half was devoted to pieces from the 16th to 18th Century and the second to the 19th and 20th.  Handel’s “Conquering Hero” came and, what is more, went very well with a 19th Century organ transcription by Guilmant.  Works by Byrd, Victoria and Schütz were delightful but the singers’ enjoyment showed most clearly in the latter’s “Joyfully Praise God” based upon Psalm 100.  A vocal arrangement of Pachelbel’s “Canon” displayed wonderful choral sounds but felt a little up tempo for my liking.
Bach’s Toccata & Fugue in D-Minor is arguably the greatest, possibly the best known of organ works.  Donovan performed this and two voluntaries by Travers and Stanley with style, clearly showing his familiarity with both the pieces and the Church’s fine instrument.  In interval conversation, I learnt that the organ’s role in their worship is diminishing - a pity because in the 2nd Half, Colin Mawby’s “Dance with the Saints” and Lefébre-Wély’s “Sortie in Eb” showed that it can, in the right hands (and feet!) sound very exciting and modern.  (Sorties mark the congregation’s departure from High Mass but, thankfully, the audience remained seated for the final three items!)
To learn the words of Randall Thompson’s beautiful “Alleluia” presents few problems. However, it is a great vocal challenge, particularly for the upper soprano line.  In spite of some obvious difficulties in this respect, perhaps shortage of numbers, the performance was most enjoyable.  It was interesting to learn that, for this work’s first performance, the choristers had only 45 minutes to rehearse!
Fauré’s Cantique de Jean Racine is ideally suited to a choir of this number and, once again, we heard some beautiful sounds. After more organ fireworks in Mulet’s “Tu es petra”, the concert ended triumphantly and resoundingly with Sibelius’s Finlandia.

Jim Hurdwell

Undeterred by far from seasonal weather and maybe seeking spiritual solace from it, a sizeable audience attended Good Friday’s performance of Handel’s Messiah at Worthing Assembly Hall.
Worthing Philharmonic Choir and the Sinfonia of Arun combined, under Donovan Brown’s direction, to give an accomplished rendition of this well-known work.
Sarah Corp (soprano) and Charles Wood (tenor) need little introduction as both are established and impressive local soloists who always live up to expectations and, once again, delighted us with their vocal expertise.  They were joined on this occasion by Mariselle Martinez (mezzo soprano and winner of many awards both internationally and in her native Chile) and Edward Grint whose glorious baritone voice graces several CD recordings as well as London’s St Paul’s Cathedral where he was recently appointed Vicar Choral. Martinez, making her concert debut with the Choir, was on fine form throughout and one feels sure that she will feature strongly in the future music scene of her newly-adopted home town.  Grint clearly relished his first appearance in Worthing and is surely destined for a fine future.
Everyone acquitted themselves superbly throughout the performance and there were, as always, many highlights especially in the memorable airs for tenor (Ev’ry Valley), contralto (He was despised), soprano (I know that my Redeemer liveth) and baritone (“The trumpet shall sound” …. accompanied with considerable aplomb by Nick Trish who is perhaps more familiar to local audiences for his work with big bands), not forgetting some fine choral singing in the Hallelujah chorus and “Worthy is the Lamb”.  The Sinfonia of Arun was ably led by Robin Morrish and produced fine sounds, duly complemented by Marcus Martin (continuo). 
This was indeed a successful and well-presented performance of, arguably, Handel’s finest work, co-ordinated with customary efficiency and musical authority, by Donovan Brown.  Well done everybody!

Jim Hurdwell

The ancient and beautiful Church of St Mary de Haura, Shoreham played host to Worthing Philharmonic Choir’s summer concert on Saturday 12th July.

“In Perfect Harmony” included choral works by Haydn and Vaughan Williams, vocal solos and a well-known ‘tour de force’ for harpsichord. 
Haydn’s Harmoniemesse, so called because of its extensive use of the orchestra’s wind instruments (Harmonie is German for wind Band), is performed comparatively rarely.  The “orchestral” accompaniment was, on this occasion, provided by Robert Fitzgerald on the King of Wind – the magnificent church organ!  This beautiful and tuneful work, the composer’s last great mass, suited the concert’s title and venue perfectly.  Soloists, organ and choir blended together in perfect harmony under the baton of Choral Director, Donovan Brown.
Suitably refreshed after the interval, each soloist took it in turn to introduce their chosen song to the audience – this aspect was, in itself, a refreshing departure from the norm because it gave the guests part-ownership of the concert.
Heather Cairncross (alto) delighted us all with Purcell’s “Music for a While”, accompanied on the harpsichord by Donovan.
To commemorate the 50th anniversary of the death of Ralph Vaughan Williams, the concert continued with a performance of his well-loved choral “Serenade to Music”.   This atmospheric work, based on texts from Shakespeare’s “The Merchant of Venice”, featured sensuous harmonies from organ, choir and soloists.  Soprano, Birgit Rohowska, scaled the heights in a manner reminiscent of the composer’s famed “Lark Ascending”.
Donovan then accompanied Anthony Smith (bass) in Mozart’s sonorous “We know no thought of vengeance” (Magic Flute), Birgit’s spine-tingling “Vocalise” (Rachmaninov) and tenor Matthew Kimble’s evocative “Silent Noon” by Vaughan Williams before returning to the harpsichord to give a virtuosic performance of Handel’s “Harmonious Blacksmith” variations. Finally, he directed the joyous finale; “Ring out, ye crystal spheres” from VW’s “Hodie”.  At the conclusion, we heard delightful tintinnabulations from above. [This wonderful organ is endowed with a (mechanical!) bell feature!]
As a postscript/encore, all the performers united in the New Seekers’  “I’d like to teach the World to sing in Perfect Harmony”, thus concluding a most enjoyable evening’s entertainment and reiterating its raison d’être.

Jim Hurdwell