Concerts are regularly previewed in New Forest Post, Christchurch Community Magazine, Western Gazette, 'Dorset' (Dorset County Magazine), Bournemouth Echo, Lymington Times and New Milton Advertiser.

Reviews from the Bournemouth Echo, The Lymington Times & New Milton Advertiser.

July 2010 - Durufle Requiem - Brahms Liebeslieder - Borodin Polovtsian Dances

Daniel Cook certainly put together a varied and entertaining programme . . . with choral works from the 19th and 20th centuries interspersed with popular solos from Abigail Hooper (mezzo-soprano) and husband Richard (baritone), and a variety of two- and four- handed combinations at the piano.

. . . Durufle's 1947 Requiem . . . less commonly sung . . . partly because it really is quite difficult in places . . . the choir seemed unfazed by its challenges. In some of the climactic moments . . . they brought a fervour which was both appropriate and moving; . . . The tender and exquisite 'Pie Jesu' was a gem, sung at short notice by the young soprano Calypso Hetherington, with the haunting cello obligato played by Amanda De Jong Gleyndert.

In the second half . . . the choir sang Brahms Liebeslieder Waltzes.  . . these pieces (18 in all), do not show the master at his best by any means. . . . Much of the interest lies in the piano accompaniment . . their final piece, the robust and exciting Polovtsian Dances . . .  With additional percussion played by Dan Priest and Max Doohan . . this provided a dramatic conclusion to the evening, the choir sang superbly, with a good clear tone where the music was melodious, and throwing themselves with unstinted vigour into the well-known refrain that makes this piece so popular.

Special mention must be made of the evening's accompanists. The ever-versatile Ian Wicks . . . and he even sang a short tenor solo. Joanne Corbin is a key figure in the local musical scene . . . nobody could have failed to notice her accompaniment of the evening's finale . . . Her playing was an absolute tour de force! Derek Baldwin (edited quote)

April 2010 - Sir George Dyson The Canterbury Pilgrims

Grange gamble pays off - The Grange Choral Society is to be warmly congratulated for taking a bit of a gamble in presenting a major work by the undeservedly neglected Sir George Dyson and for making it a tremendous success.

Dyson's traditional English outlook embraces a very fine ear for orchestral colour and word setting that gives The Canterbury Pilgrims . . . a lucid appeal.

The choral singing was of the usual high standard and if there was a degree of competition in a couple of the high powered episodes, this was all part of the drama so effectively directed by Daniel Cook. A neat touch emphasised the pilgrimage with tenor Hugh Hetherington entering down the central aisle.

His characterisations were superbly made, the dour Doctor of Physic ending on a marvellous humour to the love of gold.

Robert Evans, baritone, secured supple execution in the brass-laden, self important solemn tread of the Sergeant of the Law and in the upbeat Franklin's rich orchestral palette with Elgarian flourish.

The Wife of Bath, deliciously sung by soprano Augusta Hebbert, was lightly accompanied and performed with boisterous good humour enjoying the seductive implications.

This is a fascinating work fully meriting the considerable effort put into this remarkable performance. Mike Marsh (edited quote) 

January 2010 - Bach Christmas Oratorio

Uplifting oratorio - Just when you thought the festive season was over, up pops Bach's Christmas Oratorio.

The glorious sound of the society and orchestra . . . embraced the uplifting opening chorus and performed the chorales with harmonious integrity.

Soloists were soprano Cecilia Osmond with strongly performed arias . . . Alto Andrew Stewart was especially effective in one of Bach's most tender arias, Slumber Beloved, while tenor Thomas Hobbs occupied the sustaining role of narrator with euphonious grace and bass Julian Empett's Mighty Lord and King of Glory was powerfully wrought.

The orchestra (leader Brian Howells) were superbly supportive with baroque trumpets adding impressive sparkle. Mike Marsh (edited quote)

. . . Like the numerous other cantatas which it was Bach's duty to compose and perform, these contain a mixture of narrative recitatives, solo arias, instrumental interludes and chorales in addition to the more extended choral movements.

The four vocal soloists were all outstanding. . . . From the simple chorales to the more extended choral sections, the choir sung with their usual commitment and fervour. . . . The orchestra's contribution throughout was both vital and outstanding. The use of baroque instruments - particularly the oboes d'amore and the piccolo trumpets - brings out Bach's superb writing in a way that modern instruments cannot do.

. . . From my seat it did feel as if this concert didn't quite generate the level of enthusiastic response from the Grange's regular audience which their concerts mostly do. It never quite 'caught fire'. I suspect this had more to do with the music itself than with the performance.

. . . For their next concert in April the society breaks altogether less familiar ground with 'The Canterbury Pilgrims', . . . music by George Dyson . . . It will be an occasion not to be missed. Derek Baldwin (edited quote)

July 2009 - Haydn The Creation

Haydn among pages of the Good Book - In biblical praise, Miltonian style prose or poetry quaintly phrased, the joyfulness of Haydn's oratorio, The Creation was borne aloft in the Priory.

Musical Director Daniel Cook set a steady pace allowing choir and soloists breathing space, wisely resisting any temptation to rush for the finish.

Haydn's attention to word setting is a lesson in itself, such as the chorus' dramatic burst of 'light' or the genteel, and typically repetitive, cooing of the dove from soprano Katharine Hawnt in her finely toned role of Archangel Gabriel.

. . .  tenor Ian Wicks as Uriel and bass, Rory Waters singing Raphael also brought sensitive musicianship to bear in recitative revealing Haydn's subtle sense of humour as well as his lucid mastery of melody.

The Grange Orchestra led by Brian Howells also joined in the jocularity, and when the lion roared, so did the contra-bassoon wittily embracing the music and superbly supporting the singers.

Adam and Eve (Waters and Hawnt) emerged in Part the Third, tenderly expressing love, and they were powerfully punctuated by the Grange's alert chorus of praise and that wonderful, stately finale.  Mike Marsh (edited quote)

April 2009 - Verdi Requiem

Beautiful requiem -  Not so much an opera, more a requiem; that seemed to be the aim of Daniel Cook, musical director of the Grange Choral Society . . .

If that was the objective, then the whole ensemble achieved that with remarkable unanimity. In effect this was the most beautiful account of (the) Verdi Requiem that I have heard.

Take, for example, the Offertorio in which the melting voices of the four soloists - Claire Rutter, Susan Mackenzie-Park, David Rendall and Stephen Gadd - melded in sacred harmony. The necessity for top-rate soloists paid off time and again where their strength of projection over a sumptuous orchestra was undiminished.

. . . To be sure there was no want of drama and the dynamic range was impressively controlled. The Grange Orchestra responded with beauty of phrasing, thundering force and facility of delivery.

The choir were on impeccable form and the expansive pace enabled that sensitivity to the words, such as the haunting Lacrimosa, space to blossom.  Mike Marsh (edited quote)

. . . it can truly be said that recently appointed musical director Daniel Cook has stamped his authority on the choral society scene . . . his innate musicianship standing him in good stead and enabling him to produce a stunning performance of one of the most dramatic works in the choral repertoire.

. . . It was clear from the beautifully subdued and atmospheric opening pages of the Requiem and vigorous double fugue of the Kyrie that the choir was on top form. The well-known Dies Irae broke in with a staggering impact that no amount of listening to recordings of this music could have prepared one for! It is a very long time since music of such intensity and force has been heard at a Grange concert. Nor did the choir's obvious total commitment to the music falter at any point . . . the singers gave everything Daniel Cook asked of them.

The Grange Orchestra - for this occasion heavy with extra brass and percussion - likewise gave of their all in presenting Verdi's colourful and taxing, and at times frankly terrifying, score.

. . . This reviewer came to this work with some disposition against both the imposition of such an operatic musical style on a sacred text, and the theology implicit in the text itself. The fact that he nearly had the courage to rise to his feet to instigate a standing ovation says everything about the quality of the performance! For Daniel Cook to achieve such a stunning result within a year of becoming the society's musical director is an undoubted triumph: it can only leave everyone looking to future Grange concerts with excited anticipation.     Contributed (edited quote)

December 2008 - Handel Messiah

The power and the glory - With every pew packed for this local version . . . Grange Choral Society, conducted by Daniel Cook, and with four guest soloists, the hallowed setting resounded majestically to the immortal oratorio . . .

For the most famous part of all, the heaven soaring Hallelujah Chorus, the choir rose magnificently and the audience rose with them in a tradition started by King Charles II inexplicably standing at this point - thinking perhaps the concert was ending. The enthusiastic ovation, though, for the real finale after a rousing trumpet solo and the choral Worthy is The Lamb, was spontaneous entirely. Ray O,Luby (edited quote)

. . . obvious familiarity with the music produced singing of real confidence and precision from them throughout the whole work, and the response of the capacity audience to this, and to fine singing by all the soloists left no doubt about their enjoyment of this most popular of all oratorios.

The occasion was given an added sense of significance by the announcement of the death earlier that same day of Val Taylor, publicity officer and long-standing member of the Society, to whose memory this performance was dedicated. Derek Baldwin (edited quote)

July 2008 -  Rutter Requiem Elgar Te Deum and Benedictus Bairstow Five Poems of the Spirit Parry Blest Pair of Sirens

Cook inspires divine Grange. Under the newly appointed musical director Daniel Cook the Grange Choral Society looks set for further advances in their already enviable reputation. Centred upon the beautifully composed Requiem, the Grange chorus responded to every lovely nuance with rapt conviction.

Accompaniment provided by Simon Hogan, organ and an unaccredited ensemble of five musicians on harp, flute, oboe, cello and drum made a significant contribution to the colour and context of the words. Soprano soloist Abigail Hooper seemed ideal with an exquisite, well-rounded voice . . . And the presence of Salisbury Cathedral Organ Scholar Hogan as sole accompanist for the remainder of the programme proved very rewarding.

His vivacious introduction to Elgar . . . further inspired glorious choral singing under creative control where the devotional sections were imbued with revealing sensitivity. Bairstow Five Poems of the Spirit . . . demanding of choral precision and here well realised . . .

The informative programme notes and libretti praised Parry brilliant eight-part choral writing in his Blest Pair of Sirens and I can only echo that praise for the Grange exuberant excellence. Mike Marsh (edited quote)

Elgar Te Deum and Benedictus . . . features a bold opening, sustained phrases and the occasional harmonic surprise. The Te Deum is notable for its power and variety and the choir did it justice. By comparison, it does feel as if the Benedictus did not provide quite the same inspiration for Elgar, but then the final Gloria suddenly blazes out in some of his best writing.

Parry Blest Pair of Sirens . . . is a classic masterpiece: the long stretches of eight-part writing make a very rich sound and the choir sang them capably and with obvious enjoyment.

The revelation of the evening was the rarely heard Edward Bairstow Five Songs of the Spirit. Notable was the singing of the highly-charged music to George Herbert Praise a real tour-de-force. In places they were joined by baritone Richard Hooper, whose easy and controlled singing brought precisely the right touch to this eloquent music . . .

No one worked harder for this concert than Simon Hogan, just finishing his spell as organ scholar at Salisbury Cathedral. His skilful handling of the instrument produced a tonal palette that was superbly varied and always appropriate . . .

Daniel Cooks first appearance with the Grange gives every reason to look forward with optimism to the future. Derek Baldwin (edited quote)

April 2008 - Compelling and dignified . . . privileged to have heard the Grange Choral Society pull off one of its finest performances with Rossini Stabat Mater. . . .

Under the direction of guest conductor Derek Goodger the chorus responded to every nuance, every syllabic stress, with perfect harmony and perceptive expression. Recognising the requirement for topflight soloists the engagement of Soprano Claire Rutter, mezzo Diana Montague, tenor David Rendall and bass Roderick Earle brought the necessarily distinctive qualities of soaring power, Italianate timbre, resonant depth and charismatic personalities that ravished the senses and made this account so utterly compelling.

Mozart Solemn Vespers flowed with well-rounded, full-bodied choral singing.

. . . wonderfully lyrical playing from the orchestra under the leadership of Brian Howells. Mike Marsh (edited quote)

The evening began with Wagner Siegfried Idyll, serving as a reminder of how fortunate the Society is to have these accomplished musicians to play for their concerts. It led gently into the first of two choral works, Mozart Vespers . . . The choir gave a good account of this beautiful work.

Rossini Stabat Mater . . . the whole work was given an energetic performance by choir, orchestra and soloists. The latter all enjoy established operatic careers . . . the Grange is blessed indeed to be able (to) engage singers of such caliber. There was some outstanding orchestral playing . . . some of the most beautiful moments of the evening came in two sections sung very sensitively by the choir unaccompanied . . . The Finale came to a spectacularly vigorous conclusion, ending the concert in a blaze of glory. Derek Baldwin (edited quote)

Other past reviews

January 2008 - Leaving by the Bach Dawe. In a fitting farewell to their musical director Christopher Dawe, the Grange Chorus and Orchestra excelled even their finest artistic standards with Bach Mass in B minor.

This pinnacle of sacred music, presented here with a team of five outstanding soloists, opened the choral floodgates with a magnificent Kyrie Eleison . . . the great joy of rhythmic vitality evidenced a choir thoroughly prepared for the rigorous demands of Bach's genius.

Choral singing throughout was thrillingly disciplined; glowing with inspired enthusiasm and supported with orchestral brilliance . . .

The final round of cheers (from the chorus) for Christopher Dawe reinforced their admiration. Mike Marsh (edited quote)

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Bach B minor Mass in Christchurch Priory marked the end of an era, being the last concert under the baton of Chris Dawe . . . This added a sense of occasion to what is, by any measure, a truly monumental work . . . The choir rose to these challenges admirably . . .

Although in the Crucifixus solo voices were a poor substitute for the sense of awe generated by pianissimo massed voices . . . using the soloists in the central section of the Sanctus, and reserving the full choir for the beginning and end, was a brilliant touch, even adding to its magnificent splendour. I felt Bach would have approved.

The Grange is fortunate to have such a capable orchestra to accompany them. As well as good ensemble throughout, . . . obligato instrumental solos were adeptly played . . .

This was a suitably memorable farewell concert for Chris Dawe, in which he drew the best from the choir to which he has contributed so much. Their heartfelt cheers for him at the end of the evening bore eloquent testimony to their gratitude. D.B. (edited quote)
 

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