We’ve used the time since our memorable French Baroque evening to have an initial (!) look at the complexities of our March 2015 repertoire. This is the opening of the ‘first soprano’ part of Robert Wylkynson’s Salve Regina, from the Eton Choirbook. The part is called Quatruplex (meaning, more or less, ‘4^th part above the tenor’). The work is in nine parts – corresponding to the nine ‘orders’ of Angels – and within the ornate initial S (for Salve) we can see that these singers are designated Seraphyn.

The complete facsimile will be on display at the concert on March 21^st.

Why we should all love the French Baroque

We might begin by asking why, for many on this side of the channel and on the far side of the Rhine, this is still unfamiliar territory. Part of the answer is that French music, of all periods, has tended to develop along its own lines with particularly distinctive approaches to harmony and instrumental colour. Continue reading →

I recently met, after a gap of about 25 years, a ‘boy’ to whom I had taught the piano and who had also been Head Chorister in the Abbey Choir I was then conducting. He wasn’t expecting to see me, but once he had recovered the power of speech he blurted out I have to thank you for Bach! This was quite gratifying, though a simple greeting would also have been fine. Continue reading →