ST JOHN PASSION

ST JOHN PASSION

The Writtle Singers at St John's, Moulsham

31.03.12

Heralding Holy Week in the most appropriate way possible, the Writtle Singers excelled themselves in this St John at St John's.

The generous Victorian acoustic presented this smallish group, and their soloists, to advantage. The choir filled the space with the impressive opening Chorus, and the closing Chorale "When My Last End Is Come" was sung with heart-rending intensity. They were equally effective as the fickle mob in the dramatic moments of the Passion story ["Let Us Not Divide It"].

Bene't Coldstream was the Evangelist, telling the story with conviction from the pulpit, and other soloists included Kara Florish, whose bright soprano rang true and clear over the softer tones of the flute, Jenny Haxell, who brought impressive depth of feeling to "O Heart Melt In Weeping", and Tom Kennedy, bass, [a lovely "Come Ponder, O My Soul"] who was also a forceful Pilate. Jesus was sung with rich sincerity by Peter Quintrell.

The Passion was accompanied by the Jericho Ensemble, led by Elizabeth Porter, and conducted by Christine Gwynn.

ESSEX YOUTH JAZZ ORCHESTRA

in St John's, Moulsham Street

10.12.10

“It's very cold ...” Martin Hathaway warned his young players as they tuned for this welcome visit to the County Town. This is the senior of the three jazz ensembles run by Essex Music Services, and meets monthly to rehearse. Hathaway has directed them for almost twenty years now, and [like Dudamel and the Venezuelan Sistema] he himself was once a player in their ranks.

Despite the chill, they were on top form, playing a wide variety of jazz, and spotlighting some amazing soloists.

A piece new to me was an extended work by British jazz trumpeter Henry Lowther – Bellas Knap evokes a neolithic long barrow, and featured some fine work from Rowland Seymour and Kieron Smith on flutes.

The evening was almost all “real jazz”, like the improvised Honeysuckle Rose, with Ed Parr's trombone and Nat Levine's sax adding interest. Or the genuine Ellington arrangement of Cotton Tail. The happiest moment had to be the Mingus classic Eat That Chicken, followed by Mode for Joe and more Ellington to finish, Three Cent Stomp.

Great to see Ryan Lenham back guesting on trumpet, Martin Hathaway himself on his saxophone, and, modestly adding texture midst the reeds and brass, the lone fiddle of Tristan Clapp.