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.

. . . wonderful job at Mendelssohn marathon

. . . after the Grange Choral Society's sell-out Mendelssohn mini-marathon, my own appreciation of his choral writing was satisfyingly re-enforced.

The major portion of this concert was devoted to the seventy-minute Symphony No2, 'Hymn of Praise', under the interim direction of Hugh Morris . . . highly regarded conductor . . .

From the powerful opening of this movement the unhurried pace wound through the following Andante and Minuet to create a soft-toned contrast to the mighty opening chorus, entering with impressive choral weight and underpinned from the Priory's organ (Chris Dowie).

All the succeeding episodes fully conveyed Mendelssohn's vocal splendour.

Soloists in the symphony included the superb, soaring clarity of soprano Abigail Hooper (shining also in Lauda Sion), the fine soprano Madeleine Holmes and the smoothly controlled voice of tenor Christopher Bowen.

They were joined by Richard Hooper, bass, in a glowing account of Lauda Sion where all forces engaged Mendelssohn's marvellous scoring.

. . .  Priory treble chorister Christopher Betts gave a highly accomplished account of Hear My Prayer from which the euphonious Oh for the Wings of a Dove soared in glorious harmony with the Grange singers.  Mike Marsh (edited)

Superb Society's ambitious work

There is a venturesome spirit within the Grange Choral Society; one that is prepared to try something different, and in Saturday's inspired concert they conveyed to stunning effect the glories of voice, brass percussion and organ under Daniel Cook's baton.

Concluding with John Rutter's Gloria the entire ensemble plus the soaring soprano soloist Katharine Hawnt ensured this powerful paean drew a performance to match the ambitious scoring.

Parry's anthem I Was Glad, accompanied by organ, had that extra edge with supporting brass ensemble, the Grange singers revelling in the challenge.

Bruckner's motets are gems of choral excellence and here the Grange performed six . . . some a cappella and others with brass. If the highest degree of polish was occasionally missing these were still distinguished accounts.

Organist Ian Wicks joined forces with the brass ensemble in an arrangement of Gigout's only well known work; the Grand Choeur Dialogue and quiet a spectacle it was, also in solo he shook the Priory's foundations with Walton's magnificent Crown Imperial.

Elgar's Great is the Lord with bass soloist Richard Hooper and organ accompaniment was impressive but surpassed by Parry's Hear My Words, Ye People with the panoply of brass, chorus and both soloists in stirring form. A superb concert and hopefully something similar may follow. Mike Marsh (edited)

Elgar's Dream of Gerontius - Grange Choral Society celebrates 50th anniversary  

What better time than the 50th anniversary to pause and appreciate the significant contribution it has made, and continues to make, to the cultural life of the area.

In an age when British choral heritage - particularly in the Christian context - is less-widely valued or supported than it once was, the choir's broad repertoire and continuing membership of around 150 voices, along with the high musical standards it maintains together represent a major achievement. That should be recognised, valued and celebrated.

(of the soloists) it was a significant fact that all three had sung in the Grange's last performance of the work in 2006. They are all performers of great presence and distinction.

Under the baton of Daniel Cook the choir responded well to the wide variety of timbre and mood demanded by Elgar's music. In addition to the full choir parts his score also often makes use of a semi-chorus . . . That role was filled by the Salisbury-based Farrant Singers, another of Daniel's choirs . . . Mention must also be made of the Grange Orchestra augmented to almost 50 players . . . they stamped their mark on the performance right from the start of the sombre prelude.

This concert was a memorable occasion for the society to look back and mark the achievements of the last 50 years. But, with the magnificent venue of Christchurch Priory, and interesting programmes already planned for the next two years . . . it also has every reason to look forward confidently to the future. D.B. (edited quote published in The New Milton Advertiser)

January 2011 - George Handel Coronation Anthems - Michael Haydn Requiem in C

Let's Haydn seek! -  The Grange Choral Society under the director Daniel Cook gave this flowing work a magnificent airing in the company of four highly experienced soloists; Katharine Hawnt, soprano, Carris Jones, contralto, Thomas Hobbs, tenor and Julian Empett, bass. Haydn's Requiem in C relies not so much on high drama, but in wonderfully lyrical writing and splendid orchestral scoring, superbly performed by the Grange Orchestra led by Brian Howells.

. . . Whilst a new king is not in the offing, the four Coronation Anthems will always be core repertoire. The Grange singers revelled in the jubilant Zadok the Priest with a spine tingling performance and gave resounding accounts of the others with the four soloists making an entry in My Heart is Inditing. And we can rely upon Handel when it comes to a finale; another Alleluia chorus that readily stirred the soul. Mike Marsh (edited quote)

The Grange Choral Society began its 50th anniversary year with a flourish as the opening chorus of Handel's Zadok the Priest blazed out with all the fervour the choristers could muster. . . That wonderful music never fails to thrill, and on this occasion the choir was amply matched by the brilliance of the brass section. . . . My Heart is Inditing, provided much to enjoy in the singing of the soloists, alternating with the choir, and in some fine instrumental playing by members of The Grange Orchestra.

The second work in the concert was the Requiem in C minor by Michael Haydn . . . . Here soloists . . . gave performances of the highest calibre, singing particularly sensitively in various combinations with one another.

Some of the most moving music came in the Benedictus and Agnus Dei sections. Once again, the choir sang all their music with great sympathy and understanding.

. . . There is no doubt musical director Daniel Cook is inspiring the choir to new heights. . . . as he begins his fourth year with them, the Grange Choral Society will mark its own 50th anniversary with a performance of Elgar's powerful work, The Dream of Gerontius. That will be an occasion to celebrate Christchurch's great good fortune to having such a notable choir, able to attract both top class soloists and capacity audiences into the magnificent setting of Christchurch Priory.  New Milton Advertiser Review (edited quote) 

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)

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