Concert Diary

Informal Concert
Thursday 9th February 2012

8.00pm
Nunton Church

Andrew Mackay, conductor
Chris Mahon, organist

Byrd
Mass for four voices
Stanford
Latin Magnificat in B flat
Morley
Nolo mortem peccatoris
Philips
Stella quam viderant Magi
J S Bach
Fugue in G (Gigue), BWV 577 (organ solo)
Scarlatti
O magnum Mysterium
Tallis
In ieiunio et fletu
Holst
Nunc Dimittis

Tickets: £10
Available from Harry Joynt - 01722 329782
or at the door (small venue, so advance booking is advised!)

In aid of the Nunton Church Tower Appeal

Ash Wednesday service
Wednesday 22nd February 2012

5.30pm, Salisbury Cathedral

Byrd
Mass for four voices
Morley
Nolo mortem peccatoris
Tallis
In ieiunio et fletu

Concert
Saturday 17th March 2012

7.30pm
St Martin's Church, Salisbury

Andrew Mackay, conductor
Hugh Hetherington, tenor
Philip Lawson, baritone
Alistair Watson, bass
Timothy Hone, organ

Charles Wood
St Mark Passion
C V Stanford
Latin Magnificat
Ralph Vaughan Williams
Five Mystical Songs
Herbert Howells
Te Deum Collegium Regale

This programme comes from composers with English and Irish roots and a network of connections as teacher and pupil at the Royal College of Music and King’s College, Cambridge.

Charles Wood’s St Mark Passion was written at the request of the Dean of King’s College, Cambridge, and first heard during Passiontide in 1921. The cantata is constructed around narrative and choral sections (without arias), in a format similar to that of Passions by Byrd and his contemporaries.

Vaughan Williams’ Five Mystical Songs are settings of texts by George Herbert, with a solo voice accompanied by an ethereal and sometimes wordless chorus. The final section is an exuberant setting of ‘Let all the world in every corner sing’. We are delighted to be joined by baritone Philip Lawson for this piece, who has recently stepped down from The King’s Singers after 18 years.

Tickets:
£13.00 (£5.00 under 16s, students)

Salisbury Playhouse Box Office (10am-6pm, Mon-Sat)
Tel: 01722 320333
(NB: a small charge is made for credit card purchases)

Online at: www.wegottickets.com
(plus booking fee; available until 6.00pm on day of event)

Or at the door

Informal Concert
Thursday 5th July 2012

8.00pm
United Reformed Church, Salisbury

Details to be confirmed.

Concert
Sunday 15th July 2012

Details to be confirmed.

You can also find details of Farrant Singers concerts on the Music in Salisbury website www.musicinsalisbury.org

Recent concert programmes and reports

Epiphany Eucharist
Friday 6th January 2012

Salisbury Cathedral

Philips
Stella quam viderunt magi
Kodaly
Missa Brevis
Alessandro Scarlatti
O magnum mysterium

The Spacious Firmament
Saturday 3rd December 2011

A concert in association with John Armitage Memorial Trust, featuring music for choir, brass and organ.

Daniel Cook, conductor
Simon Hogan, organist
Onyx Brass

Gabriel Jackson
The spacious firmament
Tarik O’Regan
The night’s untruth
Philip Moore
Three prayers of Dietrich Bonhoeffer
Paul Mealor
Now sleeps the crimson petal
G F Handel
Zadok the priest
The King shall rejoice
Timothy Jackson
Anything but (for brass ensemble)
Rory Boyle
Tallis's Light - see more here

We’re delighted to collaborate once again with JAM for this concert. This Trust commissions and promotes new music for choir, organ and brass, and The Farrant Singers are very grateful to JAM for its support.

The programme includes some vibrant and exciting music such as Gabriel Jackson’s The Spacious Firmament, describing the ethereal heavens and the night sky. In contrast, O’Regan’s The Night’s Untruth speaks of sleep as a parallel existence to the one experienced in our waking hours. Paul Mealor’s collection of madrigals on ‘rose’ texts includes Now sleeps the crimson petal, which was adapted for the Royal Wedding in April this year. Also in the programme are favourites from the choir’s repertoire and some pieces for brass ensemble.

Officium Defunctorum
Saturday 15th October 2011
St Martin's Church, Salisbury

Josef Rheinberger
Mass in E-flat 'Cantus Missae'
Motets: Anima Nostra, Laudate Dominum, Meditabor
Tomas Luis de Victoria
Requiem 'Officium Defunctorum'
Gustav Merkel
Fantasia & Fugue in A Minor (organ solo)

Review from Salisbury Journal, 20 Oct 2011, by Sarah Collins:

City singers go from strength to strength

A capella singing is a collective leap of faith for any choir. The Farrants rose to the challenge beautifully in their gorgeous opening work by Joseph Rheinberger, written in the Romantic era but harking back to the earlier Venetian styles of Monteverdi and Gabrieli. The piece is written for double choir, and they were clearly defined and focused throughout.

As an interlude for audience and choir, musical director Daniel Cook played a Gustav Merkel organ fantasia and fugue. The harmonies were a little saccharine in places, especially after the simple, open quality of the first work, but naturally it was played with mastery (and some very fancy footwork) ending with a triumphant fugue, before Daniel returned to conduct the next part of the evening.

For this we returned to Rheinberger, and to three motets written for King Ludwig II (yes, the ‘mad’ one) which were handled deftly and confidently by the choir, a lush vibrant sound. The king must have had good musical taste, as he appointed Rheinberger to his court in 1877.

After the interval came the great Renaissance piece Officium Defunctorum of Tomas Luis de Victoria. The choir gave the full work here, with a sung lesson of Matins to open, and a funeral motet and Absolution to finish. The work is based on Plainsong, which has been said to be all about breath, with its phrases lasting a breath’s length. Perhaps this helps to explain the enduring popularity of this type of music, as its clarity and restfulness give a still, calm place. The plainsong materials of each movement are clearly laid out, with women’s voices (often solo) announcing each section before the gorgeous polyphony unfolds.

Again St Martin’s proved a perfect acoustic for this nature of programme and the Farrants gave us the clear, full, supported and sustained sound most necessary for this work. As a choir they go from strength to strength and Salisbury is lucky to have them.

Missa Ego flos campi
Saturday 18th June 2011
St Martin's Church, Salisbury

Early choral music from Spain and Latin America:
Cristobal de Morales - Magnificat primi toni
Francisco Guerrero - Ego flos campi
Francisco Guerrero - Missa Sancta et immaculata
Juan Gutierrez de Padilla - Missa Ego flos campi
Juan Gutierrez de Padilla - Salve Regina

With music for flute and guitar from The Ancora Duo, including Piazzolla, Ibert and Pujol. See The Ancora Duo website here

Review:

Despite the damp British summer weather, The Farrant Singers whisked their audience to warmer climes with a concert of Spanish-influenced choral music. It had all the oft-quoted essentials for a good story; touches of religion, royalty, romance and an element of mystery. Religion and Royalty? This was a programme of sacred music including works from the Spanish 16th Century composer Francisco Guerrero, who was well-respected in the court of King Philip II of Spain. An element of romance, even sensuousness, came with Guerrero’s setting in Latin of words from the Song of Songs. “I sat down under the shadow of him I desire and his fruit was sweet to my taste.”

If that wasn’t enough, we crossed to Mexico where sacred choral music was alive and well in the 17th century; Juan Gutiérrez de Padilla emigrated from Spain to be musical director for Puebla Cathedral Choir for nearly 40 years. We heard his lengthy Missa Ego Flos Campi. For the singers this was a demanding sing with some tricky syncopated rhythms and striking antiphonal effects; it’s a pity the choir didn’t separate to give the audience the full effect. Nonetheless, this was indeed a sonorous wash of unaccompanied singing in the resonant acoustic of St Martin’s, from a well-blended choir under the graceful direction of Daniel Cook who allowed the music to breathe, with sensible tempos and sensitive phrasing.

A very pleasant spicing of this musical paella came from the excellent Ancora Duo (flautist Anne Allen and guitarist Sarah Freestone) who played more modern works from Piazzolla and Pujol, both from Argentina. The combination of irregular rhythms, hint of a tango, and sheer Latin American colour and drive provided a very pleasant contrast to the sublime content of the rest of the concert.

And the mystery element in this concert? Whether the Flamenco dancer depicted in a piece played by the duo was male or female. A question left unresolved as we left in the pouring English rain.

Stuart Robinson

Ascension Day Eucharist
Thursday 2nd June 2011

Salisbury Cathedral

The choir sang at the Eucharist for Ascension Day. Music included Coelos Ascendit by Stanford, Padilla's Missa Ego flos campi, and Gowers' anthem for Ascension Day, Viri Galilaei.

Holy Week Devotion
Monday 18th April 2011

Salisbury Cathedral

Words and music for Holy Week, led by Bishop Martin Shaw. Crucifixus pro nobis by Leighton and Finzi's Lo, the full final sacrifice.

St Martin's Church, Salisbury

Purcell - My heart is inditing
Blow - The Lord God is a sun and a shield
Croft - The Lord is a sun and a shield
Boyce - The King shall rejoice, Come Holy Ghost, Praise the Lord
Handel - Zadok the priest, My heart is inditing, The King shall rejoice, Let thy hand be strengthened

A sparkling selection of anthems written for coronation services, from James II in 1685 to George III in 1761. Accompanied by The Farrant Orchestra.

Epiphany Eucharist
Thursday 6th January 2011

Salisbury Cathedral

The choir sang at the Eucharist for Epiphany. Music included Poulenc's Videntes Stellam, Vierne's Messe Solennelle, and Lully, lulla, thou little tiny child by Leighton.

St Paul's Church, Salisbury

A short concert of Advent and Christmas music from the 16th to 20th centuries, with a chance to join in with some favourite carols. No tickets required - just turn up! An ideal way to start the Christmas season.

In aid of The Trussell Trust.
www.trusselltrust.org

The King and the Robin
Saturday 6th November 2010

St Martin's Church, Salisbury

Patrick Gowers - Viri Galilaei
Jonathan Harvey - Come, Holy Ghost
Philip Moore - Three Prayers of Dietrich Bonhoeffer
Philip Moore - Lo! God is here!
Philip Moore - Salutatio Angelica
Philip Moore - The King and the Robin
Jonathan Dove - Into Thy Hands
Benjamin Britten - Rejoice in the Lamb
and other pieces for organ

Review:

The Farrant Singers, reinvigorated with some new members, sang an ambitious programme of English music that wove spells that not even a few stray fireworks could puncture.

Philip Moore, for 25 years Organist and Master of the Choristers at York Minster, is constantly being commissioned to write new music and with music of this quality and individuality it is not hard to see why. The Farrant Singers began with Lo! God is here, a piece written for the tercentenary of St Paul’s Cathedral. Immediately it was apparent that here was a choir on resurgent top form with well defined balance and flexibilty of tone to the fore. The interplay between the plainsong soprano solo and hymn was beautifully poised.

The Three Prayers of Dietrich Bonhoeffer are a masterpiece of unaccompanied choral writing. Conductor Daniel Cook directed the choir with calm assurance and a deep awareness of choral colour and musical phrasing. Under his guidance the choir brought an anguished tenderness and a poignancy to these pieces that was very touching.

The first half closed with a polished performance of Britten’s Rejoice in the Lamb. Britten sets sections of Christopher Smart’s poem "Jubilate Agno". The eighteenth century poet was in an asylum for the insane when he wrote it, and it is not difficult to see his madness in the poem (although it would have been good to have the text in our programme). It is reported that his insanity led him to sudden compulsions to pray in public, at any time or place. So although he writes about his cat Jeffrey and a mouse praising God just through their very nature it is the religious character of the work that is the most striking. The music of the ten short sections brings Britten’s genius into sharp focus as each vignette in the poem is given a unique treatment. The choir brought beauty to the lilting Hallelujahs and more than enough vigour to the tricky rhythmic sections.

The concert was notable for the fourteen members of the choir who were given solo opportunities including a cameo from the conductor. The solos Britten writes here are amongst the finest in the repertory. Organist Timothy Hone who played two solos, a reflective Psalm Prelude by Howells and the ecstatic Alleluyas by Simon Preston, provided excellent support to the choir throughout the evening with clear articulation and a carefully judged palette of musical colour.

Viri Galilaei by Patrick Gowers is a dramatic depiction of the Ascension of Jesus to heaven. Utilising the two organs in St Martin’s Church and divided choral forces it opens with a shower of shimmering stars played on the chamber organ by Andrej Kousnetzov, the Cathedral Organ Scholar, accompanied by ethereal Alleluias from the choir. This texture leads to a triumphant hymn in which the double choir texture swirls in a most engaging style with the sure support of the main organ providing a rumbustuous accompaniment. Eventually the dense texture vanishes into nothing as Christ disappears from view. The choir relished this piece and combined a new richness of tone in all voice parts with a beautiful blend in the quieter opening section.

Come, Holy Ghost by Jonathan Harvey written in 1984 for the Southern Cathedrals Festival and premiered by Winchester Cathedral Choir (conducted by Martin Neary who championed Harvey’s music during his time in Winchester), was a groundbreaking piece which brought the soundworld of aleatoric music into the English choral scene for probably the first time. The composer presents the singers with a number of musical fragments which they must sing in an order of their own choosing and at their own pace. This wash of sound provides a dreamlike accompaniment to the ancient hymn. No two performances of this piece will ever be the same and it needs each member of the choir to sustain their ‘individual’ part and the soloists to soar above the texture, ignite the ‘celestial fire’ and reach the serene heights that the composer envisaged.

Two further unaccompanied pieces, Salutatio Angelica by Philip Moore and Into thy Hands by Jonathan Dove, written for the Edington Festival and Salisbury Cathedral Choir respectively, were expressively sung and although there were some moments of poor ensemble in the Philip Moore as the choir tired, the Jonathan Dove was a very moving performance in which the silences were as important as the notes.

The concert closed with a recent commission from Philip Moore for Westminster Abbey in 2005 in celebration of the 1000th anniversary of the birth of Saint Edward, King and Confessor and Founder of Westminster Abbey. It sets words by the then Poet Laureate, Andrew Motion: The King and the Robin. This beautiful piece with its touching dialogue between the King and the Robin and a wonderfully characterised organ part with flashes of bird song provided a very satisfying conclusion to a well crafted programme by Daniel Cook and The Farrant Singers.

Ian Wicks

All the ends of the earth
Saturday 19th June 2010

Wilton Church

Hieronymus Praetorius - Gaudete Omnes
Orlande de Lassus - Missa Bell' Amfitrit' altera
Hieronymus Praetorius - O Vos Omnes
Hieronymus Praetorius - Magnificat Quarti Toni

Judith Weir - All the Ends of the Earth
Roxanna Panufnik - Westminster Mass
William Walton - The Twelve

This programme of sacred music brought together old and new, beginning with works by Hieronymus Praetorius and Orlande de Lassus from the sixteenth century.

The choir was joined by harp and percussion in the second half for Judith Weir’s evocative All the Ends of the Earth, commissioned for the Millennium celebrations in 2000, and Roxanna Panufnik’s Westminster Mass. The concert closed with The Twelve by William Walton, accompanied on the organ.

Glorious June
Saturday 26th June 2010

St Mary's Church, Fordingbridge

A joint concert with musicians from Burgate School, in aid of the Sarah Kinsley Fund. Featuring John Rutter's Gloria.

Salisbury International Arts Festival
Friday 21st May 2010

Market Place, Salisbury

The choir took part in the spectacular opening night of the Festival in the Market Place, also featuring a crazy roving bandstand with party band, pyrotechnics and special effects.

More information at www.salisburyfestival.co.uk

Spring Concert
Saturday 10th April 2010

Bach - Missa in F
Bach - Prelude and Fugue in G (organ)
Bach - Singet dem Herrn ein neues Lied
Handel - Te Deum in D (Dettingen)

Review:

Performed to a packed St Martin’s Church on a glorious evening, the Farrant Singers and Orchestra gave a concert that fully met the anticipation that preceded it. Immediately apparent, in the Lutheran Mass of Bach, was the careful phrasing and heartfelt singing of the Kyrie. The Gloria showcased three of the four soloists, as well as displaying the expertise of the orchestra, achieving authenticity and style. It was especially good to see so many young players in the orchestra - many still at school, showing particular promise for the future. Robert Evans, fresh from our screens singing with The Sixteen in the BBC Sacred Music series (presented by the son of one of the tenors in The Farrant Singers), gave us a beautiful and musical rendition of the Domine Deus. Katherine Hawnt, a name unfamiliar to Salisbury audiences, but one I’d like to hear again, sang the Qui Tollis with touching grace and simplicity. Andrew Stewart, accompanied by leader Naomi Rump, gave the audience some amazingly beautiful musical acrobatics to remember.

Conductor Daniel Cook then played to us the Prelude and Fugue in G BWV 541 on the wonderful (yet notoriously difficult to play) Hill organ. His playing was miraculously fresh, despite the demands he had of conducting the whole concert, and was full of vibrancy and virtuosity. Above all though was the same sense of musicality that he also showed in his conducting.

To round off the first half the audience were greeted with the declamatory bass octave leaps of ‘Singet’ that open the fiendish choral writing of Bach’s Singet dem Herrn. This double choir showcase was given a fresh and uplifting performance with every word sung to its full musical potential. The second section - a conversation between the choirs - was filled with emotion and came over very well. The final section could have had more impact, but we were given this when the heroic fugue started and we ended, quite literally, on a high note.

The concert ended with a performance of Handel’s Dettingen Te Deum, written to celebrate a glorious victory by George II over the French in 1743. Beginning with a rousing and royal introduction we heard an enlarged orchestra with trumpets and timpani adding to the splendour. The choir took this piece in their stride. The work is not well known and credit should go to Daniel Cook for bringing it to the attention of a Salisbury audience. Ian Wicks (tenor) is finally heard in a bass aria and he sang it very naturally despite the range. The highlight of the performance was the trio which was a showcase of breath control as the word ‘glory’ echoed around the church for a stunningly long time. Alto, tenor and bass were perfectly blended and showed what can be achieved when three soloists sing often together. In a rare moment of respite for the choir we heard a hushed change of mood at the words ‘We therefore pray thee’ and their musical expression once again came through. This was a memorable evening and great credit should go to The Farrant Singers for bringing us such a splendid programme.

Joseph Wicks

Choral Evensong
Saturday 20th February 2010

Well Cathedral, 5.15pm
The Farrant Singers visited Wells Cathedral to sing Evensong.

Responses - Lucas
Magnificat & Nunc Dimitis in B minor - Howells
Schaffe in mir, Gott - Brahms

In Dulci Jubilo
Friday 11th December 2009

St Lawrence Church, Stratford-sub-Castle, Salisbury
A candlelit concert in aid of church funds. The programme is structured around the Advent Antiphons, with Christmas and Advent music by Praetorius, Leighton, Byrd, Vaughan Williams and others, making imaginative use of all parts of the building.

Voices, Valves and Voix Celeste
Saturday 14th November 2009

St Martin's Church, Salisbury
A vibrant programme of contemporary choral music recently commissioned by the John Armitage Memorial Trust, including pieces by Jonathan Dove, James Lark, Elizabeth Winters and Paul Patterson, as well as an arrangement of Langlais's Messe Solonnelle for choir, brass and organ.

With Salisbury Brass Ensemble, organist Simon Hogan, and guest soloists.

Find out more about John Armitage Memorial Trust here.

Choral Evensong
Sunday 9th August 2009

Weston Patrick Church, Hampshire
The Farrant Singers sang choral evensong in this delightful country church to celebrate its patronal festival, following an organ recital by Daniel Cook.

Locus iste - Bruckner
Responses - Tomkins/Stone
Psalm 84 - Alcock
Second Evening Service - Gibbons
My soul, there is a country - Parry

Holy Trinity Church, Fonthill Gifford
(in aid of church funds)
A concert featuring settings of words by Shakespeare

The choir took part in a major collaboration in association with Salisbury International Arts Festival. Hundreds of singers from choirs based in Salisbury joined Salisbury Symphony Orchestra to sing Salisbury Vespers, a new work by Bob Chilcott created to exploit the acoustic world of the main space of Salisbury Cathedral, and drawing on the medieval Use of Sarum.

You can see some photographs of the event at www.adrianharrisphotography.co.uk.

This video clip shows The Farrant Singers singing in the concert:

http://www.youtube.com/watch?v=cA7r8F8USmo

A Lenten programme with organ, including:
James MacMillan - Te deum
Johannes Brahms - Schaffe in mir, Gott; Herzlich tut mich verlangen; O Traurigkeit, O Herzeleid; Warum ist das Licht gegeben?
Gerald Finzi - Lo, the full, final sacrifice
Kenneth Leighton - Crucifixus pro nobis
John Ireland - Greater love hath no man

The Farrant Singers took part in a broadcast of BBC Radio 4's Sunday Worship, live from St Andrew's Church at Bemerton, about the life and work of George Herbert. Other participants were Canon Judy Rees, Philippe Honoré, Ronald Blythe and Vikram Seth.

A short programme of Christmas music accompanied by strings and organ, including Vaughan Williams' Fantasia on Christmas Carols, Corelli's Christmas Concerto, and more by Britten, Buxtehude, Sweelinck and Byrd. The concert was followed by drinks and a chance to say farewell to Colin Howard.

Anniversary Celebration Weekend
Mass in B Minor, J S Bach
Saturday 18th October 2008
Salisbury Cathedral Services and Recital
Sunday 19th October 2008

The Farrant Singers Collection
Salisbury International Arts Festival
Monday 2nd June 2008

The choir celebrated its 50th anniversary with the first performance of no less than seven new pieces that make up The Farrant Singers Collection, along with other favourites from the repertoire. The near-capacity audience at St Martin's Church included five of the composers, and we were especially pleased to welcome Richard Lloyd, founder of the choir.

The full programme can be downloaded here.

The choir spent a very enjoyable weekend in Canterbury, singing Evensong on Saturday, and Eucharist and Evensong on Sunday. We stayed at Cathedral Lodge, a new conference facility in the Precincts, and enjoyed exploring the Cathedral, the town and its various hostelries.

The music for the services included an entirely "Farrant" Eucharist, with Richard Shephard's Mass, Richard Lloyd's View me Lord, and David Halls' Ave Verum Corpus. This last anthem was sung facing the entire length of the Cathedral, from beside the Archbishop's throne at the top of the steps - an uplifting and unique experience.

The staff and clergy at the Cathedral were extremely welcoming, and it was good to see old friends from Salisbury such as Robert Willis, now Dean of Canterbury, and Chris Crooks. The sermon even included the relating of a watery tale from "Singing on the River" many years ago!

Handel – Dixit Dominus
Purcell – five anthems
Britten – Choral Dances from Gloriana

The Farrant Singers and Farrant Orchestra
Conductor: Colin Howard
Augusta Hebbert, Mary Chelu (soprano)
Pam Jackson, Andrew Stewart (alto)
Ian Wicks (tenor), Patrick Jordan (bass)
Tim Hone (continuo)

A full house greeted The Farrant Singers as they embarked on the first concert of their ambitious 50th anniversary year.  In store was an unashamedly popular but beautifully balanced programme, linked, as the informative programme notes made clear, by each composer having written music for his respective monarch.

The choir started with a lightness of touch in the dancing motifs of Purcell’s I was glad, moving on with intensity and depth of feeling to Hear my prayer and Jehovah quam multi sunt hostes – this moving music sung exquisitely by choir and soloists (Ian Wicks, tenor and Patrick Jordan, bass).

Britten’s Choral Dances brought a change of mood, and included the seldom performed ‘Spirit-Messenger’ linking interludes between each one, Ian Wicks' mellifluous tenor voice accurate and flexible in some demanding passages.

A return to Purcell brought in the excellent chamber ensemble for Rejoice in the Lord alway.  Led by Naomi Rump, they achieved an enviable period feel for this charming anthem.  The soloists, joined by counter-tenor Andrew Stewart, sang with style and exemplary blend.

Choir and ensemble settled into the pace of Handel’s Dixit Dominus, after a slightly shaky start. They demonstrated a grasp of the light and shade essential for this ‘concerto for voices’.  Each soloist rose magnificently to the challenges Handel set and particular mention should be made of Pam Jackson’s Virgam virtutis (stepping forward from the altos) and of the heart-rending duet, De torrente, between Augusta Hebbert and Mary Chelu, as well as of Tim Hone's sensitive continuo throughout the evening. 

Colin Howard, in his final year as the Farrant’s conductor, shaped and held together the concert with energy and intelligence, giving of his all to choir, ensemble and soloists - Bravo!

Salisbury Journal, 7 February 2008

When The Farrant Singers rehearsed in St Martin's Church for their concert “George Herbert Pastoral” on 5th October, Vision News filmed and interviewed Colin Howard.  The concert was presented in association with Sarum College, as part of their weekend conference entitled “George Herbert's Pastoral: Poetry and Priesthood, Past and Future”.  Herbert was rector of Bemerton & Fuggleston from 1630, and much of his sacred poetry has been set to music by major composers: Britten, Vaughan Williams and Walton were all drawn to Herbert's ‘Antiphon' – Let all the world in ev'ry corner sing, My God and King! The programme included Vaughan Williams' magnificent setting of this poem as part of his Five Mystical Songs. Other settings include King of Glory, King of Peace by Sir William Harris, a favourite of Salisbury Cathedral Girls Choir. Contemporary composers Bob Chilcott, Barry Ferguson, Grayston Ives, Richard Lloyd (founder of The Farrant Singers) and Judith Weir were also represented, in a programme of wide-ranging musical styles.

Also performing his own set of five settings of Herbert poems was local composer/singer Simon McEnery, accompanied by pianist Elizabeth Sweetnam and cellist Rickman Godlee.

In this programme The Farrant Singers, under their conductor Colin Howard, proved again their credentials as one of Salisbury's finest and most innovative chamber choirs.