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Cecily Beer & the Chamber Orchestra of London, arranged and produced by Thomas Hewitt Jones. Conducted by Rupert Gough

SUSSEX CAROL, SILENT NIGHT, BELL CAROL

Thomas Hewitt Jones says, ‘It was a pleasure to arrange and produce these three new Christmas arrangements for the talented Cecily Beer. To accompany Cecily, I brought in players from the Chamber Orchestra of London with whom I have recorded many media projects, and Rupert Gough conducted the session at the chapel of Royal Holloway, University of London in September 2024. We are delighted that Vivum Music Ltd. is releasing this EP which we hope will showcase Cecily’s beautiful harp playing as well as offering a new take on these famous seasonal tunes.’

Cecily Beer says, ‘This new music from Thomas Hewitt-Jones has been the biggest joy to learn and record. We had both agreed we wanted something that sparkled but with familiar melodies which people know and love. For me, the upbeat tracks, Sussex Carol and Bell Carol, are exactly what I want to be listening to while dancing around my kitchen making Christmas lunch; while the final track, Silent Night, has the perfect balance of joy that comes with this sublime new string arrangement, and nostalgia for a melody we all know and love so well.’

Sussex Carol

A rippling harp introduces the famous Christmas tune with a ‘spinning wheel’ of broken chords with forward motion and delicate emotion. The intensity builds with interplay between harp soloist and strings during thematic development which propels the piece towards a satisfying conclusion.

Silent Night

This slow, reflective setting features a rippling version of the melody in the harp underpinned by warm, expressive strings. As the track unfolds a relaxed calmness expands to a quietly emotional feel as we modulate up a tone, leading us gently yet optimistically forward as we approach Christmas.

Bell Carol

The melody of Bell Carol comes from the song “Shchedryk” written by the Ukrainian composer Mylola Leontovych in 1914. We hope this new arrangement for harp and strings can be enjoyed by a wide audience during this challenging time globally.

Released 10 November on the Vivum Music Label. Available on AppleMusic, Spotify and other streaming platforms

(Image credit: A P Wilding)

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A Senior Lecturer in Piano at the Royal Birmingham Conservatoire says she’s “delighted” that a new work of music by Frédéric Chopin has been unearthed nearly 200 years after it was written.

The unknown waltz has been dated between 1830-1835 and was found in New York.

Pianist Katharine Lam says it’s an exciting opportunity for generations of Chopin’s fans to hear new music from the Polish composer centuries after his death.

“It’s a noteworthy and precious find, as several waltzes that Chopin original wrote are believed to have been entirely lost or destroyed,” said Ms Lam. “Finding lost works of any great composer reminds us of their unique, musical fingerprint and gives us, no matter how small of fleeting, a fresh and treasured glimpse of their voice and genius.

Like any artist, or even a popstar putting out a new single, it’s really exciting to experience hearing a piece of music for the first time, especially one that you never expected.

In a mere 80 seconds, the waltz captures the listener with Chopin’s beloved and haunting gift for melody, his distinctive harmonies and the opening turbulent outburst which points to the drama and passion infused through so much of his work.”

Listen to Lang Lang playing the waltz here

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I’ve been going to live classical music concerts since I was a little girl – and not just professional concerts, but also amateur performances when my dad (a clarinettist) played in a local amateur orchestra. As keen music-lovers, my parents took me to all sorts of concerts – big orchestral performances at Birmingham Old Town Hall (the former home of the City of Birmingham Symphony Orchestra), chamber music, opera and choral concerts in churches. I quickly grew to love the “special occasion” nature of going to a live concert and enjoyed the rituals and etiquette (even if I found some of the music over-long or boring on occasion!).

Going to concerts with other people can be a very special shared experience. There is the pleasure of meeting beforehand, perhaps for a drink in the venue’s bar, purchasing a programme, easing oneself into plush seats and enjoying the hum of anticipation before the performers come on stage. Then there is the interval when one can chat about the first half and enthuse with friends before the music begins again.

When I started reviewing concerts in 2011, I tended to go alone, unless a friend or two happened to be at the same performance. At first I felt slightly awkward, sitting alone in the bar beforehand, a glass of wine in hand, reading the programme, making notes…. but gradually I came to enjoy the experience of attending on my own, and now I actively relish it.

Attending a concert can be a powerful, shared experience that transcends the boundaries of individuality, regardless of the genre of music being performed. While the idea of going to a concert alone might seem daunting to some, there is undoubtedly positivity in the shared atmosphere of live music. Whether you’re surrounded by a sea of familiar faces or standing alone in a crowd, the concert space creates a special sense of community, connecting individuals through the universal language of music.

London’s Wigmore Hall

Perhaps one of the most tangible aspects of this shared experience is the palpable sense of communal energy. The collective anticipation, excitement, and emotions create a shared atmosphere that unites the audience. As the house lights dim, an expectant hush pervades the concert space as the audience anticipate the arrival of the artist or artists. In such an environment, it becomes less about being alone and more about being part of a larger, unified whole.

Regardless of whether you attend a concert alone or with friends, the music itself becomes the common thread that binds everyone together. In a crowd of strangers, the shared appreciation for the artist’s craft creates an unspoken connection, fostering a sense of unity and camaraderie among concert goers. I love those moments when it seems that the entire audience is listening really intently, as if with one, collective ear. Or the sense that the audience is holding its collective breath, so engaged are they with the performance. And then, at the end, a joint exhalation as the audience relaxes, anticipating the applause.

Attending a concert on your own offers an opportunity for personal freedom and self-discovery. Free from the expectations of others – the obligation, perhaps, to express your opinion of the performance during an interval chat – when attending a concert alone, you can fully immerse yourself in the music, allowing it to resonate with you personally. You can choose to listen intently, or allow your mind to wander. The solitude within the crowd provides a space for self-reflection, and an opportunity to experience the music in a way that is entirely your own.

Thus, attending a concert alone is not an act of isolation; rather, it is an opportunity to experience the communal tapestry of music. Even if you never speak to a fellow audience member, there is something very special about experiencing music together.This is because the unifying power of live performance goes beyond individuality, creating an environment where strangers become companions in a collective journey of musical expression and a celebration of shared experience.

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‘….simply beautiful choral writing by someone who knows, from a singer’s perspective, how to compose music which every choir will want to sing.’ Sir John Rutter CBE, composer

Following Heaven to Earth, Joanna Forbes L’Estrange’s first album on Signum Classics, Winter Light is an album of works (complete with some world premiere recordings and new arrangements) celebrating the season of Winter, as well as Christmas and Advent. The common themes linking all 19 tracks are of light triumphing over darkness, good overcoming evil and, ultimately, love conquering all.

The first 12 tracks tell the familiar Christmas story, from the eager anticipation of the saviour’s birth (Advent ‘O’ Carol, track 1) and its foretelling by the prophet Isaiah (Isaiah’s Prophecy, track 2) to the Annunciation (I Will Hold Him, track 3, and O Virgo Virginum, track 4), to the birth itself (Carol of the Crib, track 5 and Jesus Christ is Born Today, track 7) and its significance for humankind (In the Bleak Midwinter, track 8, and Love Came Down, track 9). Thereafter, the visitation from the shepherds (Song of the Shepherds, track 10) and the arrival of the magi at Epiphany (A Present for the Future, track 12) remind us that we, like the shepherds and wise men, need also to follow the light (A Story of Light, track 11). In the midst of this nativity narrative sits the title track (Winter Light, track 6) whose words mark the transition from darkness to light.

The second part of the album takes on an altogether different tone to reflect secular winter themes. As a professional singer Joanna Forbes L’Estrange is known for performing in a wide variety of styles and this is reflected in her compositions. Whereas the first half of this album is stylistically largely within the familiar realms of the sacred choral music tradition, the latter leans towards jazz and folk. The Three Wise Women (track 13) was written in response to a commission from St Swithun’s School in Winchester. ‘There are numerous pieces in the Christmas choral repertoire
about the three wise men so it was about time for the women to have their own song,’ says the composer. The remaining six tracks explore various winter themes. Winter Songs (tracks 14-16) was composed for the 60th anniversary of Finchley Children’s Music Group. Though conceived for children’s voices, the songs’ themes of hibernation, homelessness and human kindness are relevant to all ages. Green Christmas (track 17) was written during the first covid lockdown and is a subtle play on Irving Berlin’s classic, White Christmas. Track 18, Spring Will Come Again, is a folk-style song about the cyclical nature of the seasons. The album concludes with an arrangement of Auld Lang Syne (track 19) which Joanna wrote many years ago when she was Musical Director of The Swingle Singers.

Joanna Forbes L’Estrange says, ‘The impetus for recording this album sprang from my desire to present choirs with some contemporary yet singable Winter/Christmas-themed pieces which they might like to add to their repertoire.’

Praise for Joanna Forbes L’Estrange
‘Joanna has an amazing understanding of both the human voice and the human heart. The result: quality music making effective use of the voice, with tunes and harmonies and a wonderful storytelling quality to the songs which lift the hearts of singer and listener heavenward. These will surely be part of the Christmas choral canon for centuries’ – Ken Burton, conductor, composer & arranger

‘…an album of fresh new gems, full of Christmas warmth and great tunes’ – Louise Clare Marshall, singer

‘Forbes L’Estrange seems to have been born with catchy melodies coursing through her veins’ – BBC Music Magazine

Winter Light is released on 18 October on the Signum Classics label on CD and streaming.
Joanna Forbes L’Estrange, composer
London Voices
Ben Parry, conductor
Richard Gowers, organ
Olivia Jageurs, harp
Harry Baker, piano