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botley choral society news about us concerts photographs members contact us welcome to botley choral society botley choral society is an amateur choir that meets once a week in in the village of botley, hampshire, in the south of england. the choir perform at least two public concerts a year and take part in the annual winchester and county music festival. please browse this site to find out more - and come along to the next concert . author: andy street 17th may 2012, 05:20 pm review of spring concert an evening of sacred music – botley choral society botley choral society paid a much anticipated return visit to st. nicholas’ church on march 17th, but sadly were upstaged by an unwelcome guest, namely the “beast from the east”. as a result the attendance was reduced to just over fifty hardy souls whose reward for venturing forth in adverse weather was an uplifting performance of nine european sacred anthems spanning a number of centuries, followed by two works written by henry purcell in the seventeenth century. the pieces in the first half of the programme varied from its opening “lord jesu christ, my life and light” (j.s.bach) which is commenced by an instrumental prelude set at a walking pace, with the singers taking up the melody to a similar tempo, to the closing piece “beatus vir” (monteverdi) which was sung with joyful gusto, finishing almost at a frenzy. purcell’s compositions are best described as “lively”, and held the attention of the audience with their variety, particularly “come ye sons of art” which is divided into an overture and seven sections which include solos as well as significant parts for the choir. it may be argued that the nave of st nicholas’ church is a little narrow to accommodate a choir of the size of b.c.s. but the more intimate setting enhanced the sound quality, and blended the voices together. those who are familiar with the standards set by the choir members will be aware of the precision with which they make their entrances, sing their parts with clear diction and harmony and finish each piece in unison. on this occasion, they exceeded their own high standards and reached new heights of excellence. all of this is not just a reflection of the dedication and hours of practice on the part of choir members, but also of the expertise and leadership of david burgess, who, again, not only chose a most enthralling selection of music, but guided the choir to give of its best. the choir was assisted by a group of stringed and wind instrumentalists, who provided a fitting accompaniment to the singing, and two of whom played a moving oboe duet of handel’s “arrival of the queen of sheba”. the five solo vocalists also displayed their virtuosity with exquisite performances to enhance the overall atmosphere of the evening. for those who were privileged to attend, it was a most rewarding evening, and it was a great shame that more were not able to be present to show appreciation to a renowned local institution performing at its peak. in the event, we in wickham should consider ourselves fortunate, as the performance due to take place the following evening at botley was cancelled as the weather had worsened. it is understood that b.c.s. will return to perform at the 2020 celebration at st. nicholas, but they would be welcome at any time! author: jane goulson 21st may 2018, 02:38 pm spring concert 2018 cancelled concert at all saints botley tonight 18th march 2018 due to the adverse weather. author: jane goulson 18th mar 2018, 12:58 pm review of christmas 2017 concert botley choral society christmas concert all saints’ church botley was filled to capacity on the evening of 16th december for the annual christmas concert by botley choral society. unfortunately, david burgess the musical director was unwell and not able to conduct the concert, but mark dancer ably stood in, with his task being made less onerous by the many weeks of practice which the choir had undertaken. the first half of the concert comprised seven carols which were largely unknown to the audience, originating from the 14th century to a recent composition. the older carols had been arranged by modern composers such as john gardner, william walton, david willcocks and john rutter. the carols offered a variety of style and rhythm, ranging from “when christ was born of mary free”, (15th century), beautifully sung in well blended rich harmony a capella to bob chilcott’s “where riches is everlastingly”, set to a rumba and which ended with great panache. the backing was provided by two pianists and a group of six percussionists, all of whom played with great enthusiasm, ensuring that most of the carols were sung in a lively manner, and it is a tribute to the choir members that their articulation of the words kept pace with the rapid tunes. it is possible that some of the audience expected more well- known carols to be performed, but the unusual choice made was enjoyed, and received with loud applause. the main work was “carmina burana” a cantata by carl orff which was first performed in 1937 and which reflects much of the musical style of that time. for the texts orff took 24 verses from a collection of 13th century poems discovered in the early 19th century near munich, his native city. they were written by various itinerant scholars in low latin, old french and early german, and mingle christian piety and pagan hedonism, amounting to an uninhibited celebration of the pleasures of life, particularly love. bed and bawdiness feature strongly in them, together with a love of strong drink. the work is divided into three parts, entitled “spring”, “in the tavern” and “love” (which more accurately should be “lust”). to spare the blushes of those of a sensitive nature, the english translation in the programme used language in more genteel terms. the underlying theme of the cantata is the turning of the wheel of fortune, with the first segment being entitled “o fortuna” and which is repeated as the last segment. originally, the work was scored for choir and orchestra, but was transcribed in 1956, with orff’s blessing, for two pianos and percussion, resulting in the instrumental parts being much more complex than the choral parts. there are complicated rhythms and frequent changes of metre, and at times the sheer speed of the numbers creates a challenge to articulate unfamiliar words. some pieces require to be sung with great verve, and the choir magnificently showed all of the attributes needed to meet the challenge. the soloists, sarah rowley (soprano), adrian green (tenor) and malachy frame (baritone) sang from the pulpit, which ensured that their voices projected well to all parts of the church. they all sang beautifully, but special mention must be made of adrian, as in most performances of the cantata the tenor sings two sections in falsetto, but it was impossible to tell when he made the transition to falsetto from bel canto. the pianos and percussion were very spirited, and at times overwhelmed the choir, but overall the exhuberance of both the choir and instrumentalists blended well to create an uplifting occasion, which was received with acclaim by an appreciative audience. author: jane goulson 22nd jan 2018, 04:40 pm review just in: mendelssohn's st paul (wcmf concert, 13th may) "mendelssohn : st. paul the winchester and county music festival began life in 1921 with the aim of providing an opportunity for smaller choirs to perform more demanding works which they would be unable to undertake with their own resources. for 2017 singers from botley, overton, twyford and winchester provided a splendidly large choir to give a powerful performance in winchester cathedral of mendelssohn’s rarely heard oratorio st. paul. written in 1836 and first performed in that year in dusseldorf and liverpool and in birmingham in 1837, the work tells the story of paul’s persecution of the christians, his conversion, baptism and ordination, as told in the acts of the apostles. saturday’s per

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