Harry England: 1929-1942
Patricia Groves: 1942-1958
Dennis Powell: 1958-1993
David Parkes: 1993-2006
Ian Clarke: 2006-present day
The rehearsal venue was originally the Wesleyan Chapel, now the United Reformed Church, in Wombourne's centre, where the first concert under Dennis Powell took place. The main work was Edward German's Merrie England. Later the rehearsal venue moved to the Church School, Wombourne. It was decided that the choir should become an evening class, initially under Sedgley Evening Institute's wing, but later under Staffordshire Education Committee. This lasted until the choir moved to Springdale Junior School, Wolverhampton, when we were adopted by Wolverhampton Education Committee. Several years later, independence was resumed.
Under Dennis Powells tenure, the choir developed to become essentially the choir it has become today. It accompanied the Wolverhampton Symphony Orchestra in many large scale works, including Vaughan-Williams's Sea Symphony, Elgar's Dream of Gerontius and Music Makers, Tippet's A Child Of Our Time, Constant Lambert's Rio Grande, JS Bach's St Matthew Passions and B Minor Mass and Handel's Messiah. Dennis also conducted the choir in a number of smaller works by less well known composers, such as Moeran, Finzi and Poulenc.
When Dennis Powell retired in 1993, David Parkes became the fourth conductor and the choir continued to go from strength to strength. Well-established favourites were mixed with challenges such as Honeggers Christmas Cantata. There were ambitious large-scale performances, notably the Verdi 'Requiem' and Elgars Dream of Gerontius both in Wolverhampton Civic Hall, the latter with Paul Nilon as an overwhelming Gerontius, Brahmss A German Requiem in Dudley Town Hall with Denise Leigh as soloist. Summer concerts became well-established, giving us opportunities to explore a lighter repertoire including virtual excursions to Broadway.
David also led us on a real excursion to France in 2003, starting a fascinating musical and social association with Chantemoy choir from Orléans. This was followed by a return visit from Chantemoy in 2005. Our choir made a second visit to the Loire Valley in 2007 and Chantemoy returned to Wolverhampton in 2010.
In 2006, David reluctantly took his leave of us, and was succeeded by Ian Clarke, already well known to the choir for his splendid organ and continuo playing in several of our concerts. Under Ians direction, the choir continues to develop its repertoire and skills, with performances of steadily increasing scale and musical quality. Membership currently stands at around 100 singers. Those interested in joining may be attracted by the policy of "no auditions". The mix of old and new continues. Vaughan-Williams makes a welcome return in his centenary year.
The choir has frequently used local solo singers, including the baritone John Oxley who is a member of the choir. Other soloists are often drawn from past and present students of the Guildhall School of Music and we have over the years been fortunate enough to sing with young soloists who have later progressed to establish themselves as major performers on the concert stage. The choir has been accompanied over the years by a number of smaller orchestral groups, including most recently Chameleon Arts and the Orchestra da Chiesa. We have also been very fortunate in the pianists who have accompanied us both at rehearsals and performances. Anthea Podmore, our accompanist of very long standing, retired in 2006 and we were very pleased that the equally brilliant Beryl Beech was willing to join us.
As the choir, in its various incarnations, approaches its eightieth birthday, we look forward from a position of musical, numerical and financial strength to a future as a focus for choral activity in this area. And we look back with thanks to the gifted, talented and dedicated individuals who have made this possible.
WDCS has forged a link with a choir called Chantemoy from the French city of Orleans. We visited and sang with Chantemoy in May 2003, and we returned their hospitality when they joined us in May 2005..... then we went back to them in May 2007 ... now they're coming back in May 2010 to join us in a concert 'Vive la Différence!'
Whats the French for harmony?
by Katherine Dixson, June 2007
When thy soft accents,
through mine ear,
Into my soul do fly,
What angel would not quit
To hear such harmony?
THOMAS STANLEY, 1625-78
When an uncharacteristic lull descended over the huge, heaving table, it was interpreted as an angel passing over, in a French saying that was new to me. Three sets of neighbouring host families and guests had gathered together after Chantemoy and Wombournes Sunday concert. This was the third leg of a fruitful alliance between Wombourne and District Choral Society and Chorale Chantemoy. It began four years ago with our first trip to Joan of Arc territory in this unspoilt corner of the
Although I found I needed half a day to acclimatise to the language after our overnight journey to Orléans, the sense of renewed friendship was conveyed with no delay whatsoever, two-year gap notwithstanding. The weather was wintry but the welcome was warm. Any vestiges of apprehension were soon despatched up into the soaring vaulted ceiling of the church at Saint Denis en Val when we reaffirmed our raison dêtre and started singing, as separate choirs and together. In rehearsal you could almost reach out and touch the rapport and encouragement, within and between the two choirs and their respective and respected directors, Ian Clarke and Benoît Fallou. A connection.
Add an audience into the mix, and communication multiplied still further. Bright eyes reflected the highly charged atmosphere, that unmistakable live music atmosphere in which even the mistakes yes, there were a few were forgiven, because you could sense everyone was on your side. If there were any mistakes during the last few bars of Rutters The Lord bless you and keep you or Ze Lord in Chantemoys parlance they passed me by as I was too busy welcoming back the old familiar tingling down the spine while the top A flat of Amen went flying up into the roof. There goes that angel again.
Having the courage to attempt a repertoire of unaccompanied music brought tangible rewards, not least a heightened awareness of what the rest of the team was up to and a satisfying sense of achievement. Not only were our voices in communion with the audience, but the programme was beautifully balanced with instrumental interludes. Afterwards I spoke to Hilaire, one of our French friends in the audience. As if to illustrate his point, he beamed from ear to ear and claimed even the organ was smiling.
The following day we reached the narrow cobbled streets of Meung sur
Even on our days excursion the vocal cords were at it again, with some impromptu singing, score-less and more intimate, in the Basilique de Cléry Saint André. Here it was that our wonderful coach driver, Colin, was hijacked for page-turning duties while Ian played the organ. Les deux conducteurs? It was also the imposing last resting place of Louis XI and his wife, and our hosts were insistent that we didnt leave the premises until wed viewed the skulls. You realise you could learn all this on the internet? teased one facetious soprano, thus inspiring the strapline broadband broadens the mind. But give me travel any day nothing enriches the soul as much as actively being there.
All too soon it was time for the thank-you speeches at the farewell party. The French Chairwoman, Delphine, gave individual homegrown roses to everyone on her organising committee, and the beautiful simplicity of this gesture was almost as moving as the international language of music.
by Katherine Dixson, June 2007
Spring bank holiday saw a coachload of us from Wombourne and District Choral Society travelling to
Anyone involved with choral singing will realise that tenors are like gold dust. Of our smallish tenor section, just three had dusted off their French phrase books and packed their scores for the journey to this unspoilt corner of the
Torrential rain did little to dampen the enthusiasm, either. The weather was wintry but the welcome was warm. It was a chance to renew old friendships and establish new ones, both within our own ranks and amongst our French counterparts. Communication took many forms English, French, a mixture of both, sign language and ladlefuls of laughter. Respect and trust in the social sphere spilled over into our music-making, and there was true spine-tingling communication with our packed audiences in the setting of lovely gothic churches. I could get used to encores and standing ovations.
Back home, the experience has brought a renewed vigour and we look forward to further exchange visits plus our domestic activities in the meantime. We shall be performing Handels Messiah on 1st December at the
Listen very carefully, we shall sing this only once
by Katherine Dixson, June 2007
Actually, this is blatantly untrue, as we sang our repertoire at least twice on a recent visit to
This time, at Whitsun 2007, not only did we stage joint concerts at two fine churches, playing to packed audiences, but wed also been invited to participate in a sung Mass for Pentecost at another. The pattern for our performances is a varied combination of pieces by the individual choirs plus a voiceboxful of joint works. Our collaborative signature pieces are The Lord bless you and keep you by contemporary English composer John Rutter and Cantique de Jean Racine by French composer Gabriel Fauré. These were the obvious sublime choices for the church service.
Rather more informally, we sang them again during a day trip in the lovely
Our concert repertoire featured more English madrigals, plus a French one telling the laudable story of a husband who does all the housework and feeds the chickens, leaving his wife free to take her pleasure as well as other unaccompanied songs. This was where listening very carefully really came into its own. Our professional musical director, Ian Clarke, had rehearsed us up to the rafters to achieve our best tuning possible, and the result was improved teamwork and enjoyment for singers and audience alike. At least, our audiences must have approved, since they didnt let us get away with singing everything only once.
by Katherine Dixson, May 2005
It gave a whole new meaning to the term Chairman. Nick had taken over the helm of Wombourne and District Choral Societys management committee and had received plenty of helpful advice from outgoing Chairman John in terms of choir seating arrangements at concerts. Meticulous plans were drawn up, with strategically arranged coloured squares, varying on each occasion depending on the configuration of the concert venue in question and the numbers of sopranos, altos, basses and tenors (usually with 1sts and 2nds in each) singing. Plans on paper are all very well, but faced with an excited, augmented choir, including 50 French visitors, it was a veritable tour de force persuading everyone to sit in the right place for our first rehearsal.
Apart from anything else, despite the visitors being tired after their overnight journey, and the planners surviving on nervous energy alone, everybody was in high spirits on renewing the friendships made two years earlier during our wonderful visit to Orléans. Seating had not been an issue then, as the style of Chorale Chantemoy was to stand throughout the performance. With the exception of a couple of joint numbers at the end, the two choirs had each taken half the concert, and during their non-singing half they became part of the audience. As it turned out, it was just as well that our plans were more ambitious, with alternating blocks of Wombourne/Chantemoy pieces throughout, necessitating us all to be on stage at once, as our Saturday evening concert was packed to the rafters!
A good half-hour behind the scheduled kick-off, and with the prospect of an early start the following day for a tour of Ironbridge Gorge, that first rehearsal eventually got underway. After the interminable musical chairs to ensure the various voices were grouped correctly, did I mind finding myself on the edge of the second sopranos next to a dishy French tenor? No, I was quite happy, thank you very much.
The overall visual effect at the performances was stunning. At the heart was a mosaic of Chantemoys brightly coloured silks, cocooned by Wombournes calm black and white. The music wasnt bad, either, judging by the reaction of our audiences. Once again we had proved that such a joint venture was well worth the effort, and this Chantant Cordial is set to continue as weve been invited back to Orléans in 2007. My guess is that it will be standing room only.
Never before have I sung Ding Dong Merrily on High in May. But at the party to mark the end of our tour to Orléans to sing with Chorale Chantemoy, it was a case of anything goes. Coincidentally though maybe not intentionally it was reminiscent of the pealing melody of La Campaña del Pueblo, a Spanish folk song performed by the host choir at our first concert. In other words, it rang a bell.
Whereas Wombournes repertoire comprised traditional, classical, sacred pieces by English and French composers, Chantemoy favoured a more cosmopolitan and contemporary approach. This entertaining contrast was reflected in the choirs respective dress codes: as always the Wombourne gentlemen were the picture of sartorial elegance in their DJs and the ladies beautiful in their long black skirts and white blouses; to a base layer of black, Chantemoy had added a certain Gallic panache with variously jewel-coloured shirts and blouses.
Everybody agreed that the two choirs complemented each other well and it seemed the most natural thing in the world to combine our efforts for the final two pieces at each concert. By this stage we were becoming firm friends after the extraordinarily warm welcome. The only drawback to such overwhelming hospitality was the prospect of rehearsing after meals of gargantuan proportions. Not surprisingly, a collective agreement emerged that a reciprocal visit should be planned but how on earth to match the welcome?
Both choirs had a go at singing in each others language, and if we had our work cut out perfecting our French pronunciation for the Cantique de Jean Racine, spare a thought for our French friends who had to tackle not only the 16th century English of Thomas Morley, but also American English with a Puerto Rican accent for extracts from West Side Story.
Our own pieces were well received, from the confident opening attack of Stanfords Magificat, through the hushed reverence of Byrds Ave Verum Corpus and the final chords of Duruflés Tu es Petrus reverberating around the gothic vaulted ceiling, to the intimate peacefulness of Rutters The Lord Bless You and Keep You. Our audiences were highly appreciative and as if the sheer joy of taking part werent enough, we were rewarded with standing ovations.
Expert accompaniment was provided by Ian Clarke. During a lovely day trip his magic fingers finally found an organ to match the size of the organist (to quote our hosts) at the church of St Benoît-sur-Loire, a fine setting in which to indulge in yet more singing. In glorious sunshine, the excursion was a treat for all the senses, what with the music, the inevitable magnificent lunch, the gentle countryside and the grandeur of the buildings, including the Château de Chamerolles and its perfume museum.
British reserve forgotten, we let our hair down at that evenings farewell party. There were speeches of appreciation from local dignitaries and organisers from both sides, on the general theme of music being an international language and a powerful harmonising force between strangers. Gifts were presented, absent friends remembered and much excellent food and drink consumed. The soirée was interspersed with spontaneous dancing and singing of every complexion, from Alouette and YMCA (both complete with actions) to Jerusalem and Auld Lang Syne.
So, where to next? And more urgently, after such an abundance of companionable music-making, will we survive until next terms rehearsals without withdrawal symptoms?