90’s Archive
From an archival point of view, this looks a little like the lost decade, but musically it continued to make demands of the choir including Bach’s Mass in B Minor in Spring 91, and his St. Matthew’s Passion in 1993. Both involved a weekend of rehearsals in St. Andrews, which by all accounts were much enjoyed… It was also the decade in which we were joined by our indefatigable Librarian, Ewing Wallace, who procures our music and chases our dilatory returns. Any further contribution to this part of the archive would be gratefully received.
Programmes
Spring 1990
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I was glad they said unto me (Parry) |
Mozart: Requiem Mass |
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Cantique de Jean Racine (Fauré) |
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Hear my Prayer (Mendelssohn) |
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Christus Factus Est (Bruckner) |
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Locus Iste (Bruckner) |
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Christmas 1990
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Once in Royal David’s City |
Unto us is born a Son (arr Willcocks) |
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Excerpts from Messiah (Handel) |
A Maiden Most Gentle (arr Carter) |
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For unto us a Child is Born |
I Saw Three Ships (arr Willcocks) |
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How beautiful are the feet |
God Rest Ye Merry Gentlemen |
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Hallelujah |
White Christmas (Berlin) |
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Coventry Carol (arr Shaw) |
Jingle Bells (arr Charles) |
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Sussex Carol (Trad arr Willcocks) |
The Holly and the Ivy (arr Gardner) |
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In the Bleak Midwinter (Darke) |
We wish you a Merry Christmas (arr Warrell) |
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Good King Wenceslas |
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Quelle est cette odeur agréable (arr Willcocks) |
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Star Carol (Rutter) |
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Polish Carol (arr Wilson & MacDonald) |
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Ding, Dong Merrily on High |
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Spring 1991
J S Bach: Mass in B Minor
May 1991
(Balfron Church)
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Ave Verum |
Tonight |
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Pie Jesu |
We’ll Gather Lilacs |
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Now is the Month of Maying |
It was a Lover |
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My Bonnie Lass She Smileth |
Make Believe |
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Afton Water |
I Got Plenty o’ Nuttin |
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Comin’ through the Rye |
Nobody Knows the Trouble I See |
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Johnny Cope |
O When the Saints |
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Ye Banks and Braes |
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Scots Wha Hae |
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Ascot Gavotte |
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Try to Remember |
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Waltz of My Heart |
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Christmas 1991
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Alleluja (J S Bach) |
Ding, Dong Merrily on High |
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And there were Shepherds (J S Bach) |
The Holly and the Ivy (arr Jaques) |
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The Three Kings (Cornelius) |
O Come All Ye Faithful |
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Still the Night |
Do You Hear What I Hear (arr for the Kings’ Singers) |
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King Jesus Hath a Garden (Dutch) |
Christmas Song (arr for the Kings’ Singers) |
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Unto us is born a Son (arr Willcocks) |
See Amid the Winter’s Snow |
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Good King Wenceslas (arr Jaques) |
Christmas Letter (Joyce Begg) |
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Hark the Herald Angels Sing |
Jingle Bells (arr Charles) |
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In Dulci Jubilo (arr Jaques) |
White Christmas (Berlin) |
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We wish you a Merry Christmas (arr Warrell) |
Spring 1992
Gabrielli, G: Jubilato Deo
Telemann: Trio Sonata in E Minor
Gibbons: Hosanna to the Son of David
Mozart: Laudate Dominum
Rutter: Requiem
October 1992
(in aid of Killearn Village Hall refurbishment)
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Hummel: Mass in Bb |
Tonight (Bernstein) |
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Kyrie |
Kaleenka (arr Goldman) |
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Gloria Sanctus |
Breeezy Bach (Air from Suite No 3 in D (Bach arr Bennett Williams) |
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Benedictus Agnus Dei |
Bourée from Bach: from 2nd English Suite (Bach arr Bennett Williams) |
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Brightly Dawns our Wedding Day (Gilbert and Sullivan) |
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The Two Gendarmes (Offenbach) |
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Pick a Bale of Cotton (arr de Cormier) |
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O Mary Don’t You Weep (arr Barthelson) |
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When the Saints Go Marching In (arr Thomson) |
Christmas 1992
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Excerpts from Messiah (Handel) |
Torches |
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And the Glory |
Away in a Manger |
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Behold a Virgin shall Conceive |
Carol of the Little King |
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O Thou that tellest |
Hark the Herald Angels Sing |
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For unto us a Child is Born |
Gabriel’s Message |
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O Come All Ye Faithful |
Deck the Hall |
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Lullay My Liking |
The Twelve Days of Christmas |
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Angels from the Realms of Glory |
We Wish You a Merry Christmas |
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Good King Wenceslas (arr Jaques) |
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Ding, Dong Merrily on High |
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What Cheer? (Walton) |
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Spring 1993
J S Bach: St Matthew Passion
Christmas 1993
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Still the Night |
I came upon the midnight clear |
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Fantasia on Christmas Carols (V Williams) |
Rocking (arr Willcocks) |
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As with Gladness Men of Old |
Linden Tree Carol (arr Jaques) |
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Coventry Carol (arr Shaw) |
The Little Drummer Boy Hear (arr for the Kings’ Singers) |
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Star Carol (Rutter) |
Do You Hear What I Hear (arr for the Kings’ Singers) |
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The Snow (Elgar) |
Christmas Letter (Joyce Begg) |
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Gloucestershire Wassail (arr V Williams) |
Sing a Song of Merry Christmas (Mozart) |
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Jingle Bells (arr Charles) |
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White Christmas (Berlin) |
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We Wish You a Merry Christmas |
Spring 1994
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The Spirit of the Lord (Elgar) |
Puccini: Messa Di Gloria |
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Beati Quorum Via (Stanford) |
Kyrie |
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Alma Dei Creatoris (Mozart) |
Gloria |
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Greater Love (Ireland) |
Credo |
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How lovely are Thy dwellings (Brahms) |
Sanctus & Benedictus |
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Agnus Dei |
Spring 1995
(with the Scottish Bach Consort)
Monteverdi: Beatus Vir
Boyce: Symphony No 5 in D
Purcell: Jubilate Deo
Schubert: Mass in Eb
Christmas 1996
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Ding Dong! Merrily on High |
Infant Holy |
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O Little One Sweet (arr Bach) |
O Holy Night! (Adolphe Adam) |
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Once, as I Remember: Italian (arr Wood) |
A Maiden Most Gentle: French (arr Carter) |
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It Came Upon the Midnight Clear |
O Come, All Ye Faithful |
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The Shepherds’ Farewell (arr Berlioz) |
The Holly and The Ivy (Gardner) |
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Il Est Né le Divin Enfant (arr Willcocks) |
Trumpet Solo |
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Trumpet Solo |
Joy to the World |
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While Shepherds Watched |
White Christmas (arr Berlin) |
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Nativity Carol (Rutter) |
Jingle Bells (arr Charles) |
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Lord of the Dance: American (arr Willcocks) |
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Spring 1998
Fauré: Requiem
Mozart: Requiem
From Joyce
POEM ON THE 21ST ANNIVERSARY OF STRATHENDRICK SINGERS IN THE FORM OF A LETTER TO A NEW APPLICANT.
Dear John,
We thank you for your note, expressing your desire
For information on our most prestigious local choir.
You say you’d like to join, although you hear the standard’s high,
And since you haven’t sung for years, your voice is rough forbye,
And an auditory interview is something that you dread –
You’d rather stick to singing arias in the bath instead –
Allow us to assure you now how groundless are your fears.
The entrance test is nothing like as bad as it appears.
Sight reading isn’t ‘de rigueur’, although it helps the sound
If you can tell by looking when the notes go up and down.
Although a voice like Placido Domingo’s is a boon,
The bottom-line requirement is that you can stay in tune.
We’ve got some lovely singers in among the common crew.
Some notes defeat the many, but are conquered by the few.
The first soprano section scale the realms the rest can’t enter,
Though is must be said they had less trouble in the Leisure Centre.
And though the second basses’ line devolves into a jumble,
Emitting, like the underground, a soothing sort of rumble,
Their bottom notes are thrilling, full of vibrant Celtic charm,
Which owes a lot to one who comes direct from Cardiff Arms.
The altos are dead accurate, as true as true can be,
Provided they’re not asked to move too far from middle C.
And the tenors, Ah the tenors! What a fine pellucid sound!
(We do a lot of grovelling when the tenors are around.)
We’ve been a choir for many years, in fact we’re twenty-one,
And many’s the composer whose masterpiece we’ve ‘done.’
Schubert, Haydn, Dvorak; Monteverdi and Vivaldi,
Be it Mass in B or Mass in C, you bet we gave it laldy.
We’ve sung waltzes, carols, Scottish ballads, and on top of that
We’ve indulged in Mozart’s Requiem and Bach’s Magnificat.
We’ve gone on tour to foreign parts, covering the miles
From Callendar to Falkirk, from Buchlyvie to St. Giles.
And in among the organs, which never fail to please,
We’ve had some odd pianos, with flat and missing keys.
The keyboard in McLintock Hall brought water to the eye
As the poor sopranos found themselves a full two tones too high.
It’s difficult to think that something small could cause such pain,
But we’re in no desperate rush to sing The Blue Danube again.
Did I mention our involvement in the operatic scene?
Our G and S productions were the best there’s ever been.
Instead of old Penzance, or a location quite that far,
Our Pirate fleet was landlocked, and based in Balmaha.
And the Gondoliers had never been to Venice in our story.
Instead they got entangled with the Duke of Tobermory.
Our swansong was old Pinafore, performed in Balfron School.
That was our final chance to lark about and play the fool.
We gave up operetta when, instead of winsome lasses,
The maidens’ chorus, to a man, had greying hair and glasses.
When you go for your audition, John, some things you will be asked
Perhaps even before you’ve had your vocal skills unmasked.
How are you on piano shifting, or on stacking chairs?
Can you conduct a bottle stall, or bake a few eclairs?
Can you pour juice and coffee, and operate the sink
While singing Barber Shop Quartets? It’s harder than you think.
And do your waitress skills include dispensing laden trays
Of steaming spicy wine, and threading through the crowded maze
Of Christmas punters, handing out mince pies and shortbread fingers?
Believe me, these are talents vital to Strathendrick Singers.
We also need our helpers, be they bidie-in or mate,
Who mull the wine and heat the pies, take money at the gate,
Or hand out programmes, count the children, usher in the ageing,
Then hang around to lend a hand dismantling the staging.
(That’s Walter’s province. He can build a lovely choral stand.
He comes along with laden trailer, even when he’s banned.)
So joining our renowned choir is not a simple thing.
There’s so much more involved than the capacity to sing.
For two full decades many of our members came and went,
But two stars remain constant in our twinkling firmament.
The first is Helen, who, with patience wonderful to see,
Plays on for us each week, in any time and any key.
The other one is Ros, whose guidance doth our souls inspire,
And turns us from mere rustics to a smooth and tuneful choir.
You’ll join at an auspicious moment, now we’re twenty-one.
We’ve come of age, we’re adult, a new future has begun.
We may go on tour to foreign cities, wander far from home,
Or exhibit in the Culture Section of the Greenwich Dome.
A folder and designer tie is all that you require,
So come and join the happy chorus.
Lots of love,
The Choir.
P.S.
Today’s our birthday party, and we’re here to make a fuss.
Let’s raise our glasses to Strathendrick Singers. Here’s to us!
