There was an increase once again in the total number of students attending the courses. 323 students were distributed over five week-long courses, four held in Eton and one at Charterhouse. They ran from early July till mid-August. Staff and students seem to agree that the courses are a most uplifting and inspiring time. In thank-you letters students often remark, "This was the best week of my life".
Singers (and six organists) are accepted onto each course in a proportion of voices that will make up a balanced choir. They have two individual singing lessons each taking place during choir practices and at other times. Later, groups of six or so have "mini master-classes" in which they sing their songs to each other and their teachers. The course is divided up into six consort groups, each taken by a member of the Assistant Music Staff. We are able to attract some very talented young musicians to be Assistant Music Staff. A well-known singer gives a master-class for the whole course to attend. Instrumentalists join in an ad hoc orchestra for the Informal Concert. An Alexander Technique teacher visits each week and teaches for two days. The varied make-up of the groups within the course means that students get to know most of the others on the course by the time the week is out: firm friendships are made, and the atmosphere on the courses is always exuberant. Many students experience the highest standard of choral singing they have yet known: coming often from schools where music is a minority pursuit, it is very exciting for them to be surrounded by like-minded enthusiasts.
It was good that over sixty of the students were from state schools, more than ever before. The reason that this number is not higher is that many state schools don't have any singing at all. The courses are set up by Philip Highy, Martyn Ford, Elaine Hillyard, Kate Smith and myself, and run administratively from day to day by Kate Smith, assisted by Chessy Russill, Laura Holmes and Jemima Peterken. The scheme of funding six Slough students was fully taken up this year.
Course 1
Course one was directed by composer and conductor Bob Chilcott. There were 58 singers in all, including two Americans, an Australian and a Swede. The full-time singing teachers were Susan Waters, Peter Wilson and Alan Watt, and Christopher Gillett gave a solo singing masterclass. Stephen Darlington, Director of Music at Christ Church, Oxford gave an inspiring, musical and relaxed workshop. The music we sang included Stanford in G, The Prayer of King Henry the Sixth by Gabriel Jackson, Jehovah by Purcell, Bob's And every stone shall cry, Brahms Geistliches Lied, Mathias Jesus Service, and Jubilate Deo by Gabrieli. We sang evensong at Eton College Chapel, and also at St George's Chapel, Windsor, under their Director of Music, Tim Byram-Wigfield.
Course 2
Over 60 students attended the Second Course, directed by Ben Parry (Director of Music at St Paul's School). Visitors included the choral conductor Andrew Carwood, who led an intensive full choir rehearsal, and international soloists Sophie Daneman and Giles Underwood, who gave masterclasses and singing lessons to selected students. Alexander Technique lessons were taught by by Flossi Challands and the resident vocal coached were Peter Wilson (RNCM, RSAMD), Alan Watt (RSAMD) and Margaret Humphrey Clark (GSMD). The full choir worked towards a Choral Evensong in St Paul's Cathedral conducted by the cathedral organist, Malcolm Archer and a live broadcast Evensong on Radio 3 from Eton College Chapel including music by great British composers Tippett, Leighton, Walton and Britten.
Course 3
I directed the third course. The main repertoire consisted of Salve Regina by Poulenc, the Magnificat a 12 by Andrea Gabrieli, the Nunc dimittis Gradualia, In Festo Purificationis by Byrd, the Motet: Der Geist hilft by Bach, the canticles by Howells: Collegium Regale and Song for Athene by John Tavener. We were visited early on by Stephen Layton, who gave an intense and highly musical workshop, and later on by James Gilchrist, who gave a masterclass on solo songs which was outstandingly good. We sang Evensong at The Queen's College, Oxford, directed by Dr. Owen Rees. The full-time singing teachers were Anita Morrison, David Lowe and Sue Waters.
Course 4
The fourth course, which I also directed, was the one to which we invite organists: David Goode was their resident teacher. Tessa Cawdron gave Alexander Technique lessons, and Margaret Humphrey Clark, Anita Morrison and Robert Rice were the resident singing teachers. We visited St. John's College, Cambridge to sing Evensong directed by the Director of Music there, David Hill (Leighton: Let all the world, Rubbra in Ab and Walker: Dance my Heart). The flamboyant Sarah Walker gave a two-hour Master Class for six of the best students, and nine of the choral scholars from St. John's College. Cambridge visited to sing to us in their group known as The Gentlemen of St. John's and preside over the Consort Group workshop. Together with the organists, the choir gave a final recital in which we sang This worldes joie by Arnold Bax, Take him, earth, for cherishing by Herbert Howells, Faire is the Heaven by William Harris, Nisi Dominus from The Vespers by Claudio Monteverdi and Blest pair of sirens by Hubert Parry in Eton College Chapel.
Course 5
The fifth course was held at Charterhouse, jointly directed by Mark Shepherd, the Director of Music there, and myself. Mike Brewer, the Director of the National Youth Choir, visited early on to give an exciting session in which he worked very effectively at German pronunciation leading to whole-hearted singing of the Schutz German Magnificat. We broadcast live a programme of Sunday Worship from the Chapel, and later sang Evensong at Guildford Cathedral. Mary King visited to give and entertaining and instructive Masterclass. The singing teachers were Robert Rice, David Lowe, Carys Lane and Giles Underwood. Our repertoire included Bring us, O Lord God by William Harris, O Nata Lux and Candidi facti sunt by Tallis, the German Magnificat by Schutz, the Latin Nunc dimittis by Herbert Howells and Warum ist das Licht by Brahms.
The point of the choral singing on the courses is that we aim for the highest standards, however much effort and focus is needed. This, combined with the six consort groups into which the choir is divided and the excellent staff, seems to be a winning formula. We will probably have to turn away a significant number of applicants next year if we don't run six courses.
