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|Ralph Vaughan Williams||O vos omnes|
|Hugo Alfvén||Aftonen (The Evening)|
|Elizabeth Maconchy||A Hymn to God the Father|
|Imogen Holst||A Hymne to Christ|
|Gustav Holst||This have I done for my true love|
|Ralph Vaughan Williams||Silence and Music|
|Ralph Vaughan Williams||Mass in G Minor|
A night to celebrate the enduring legacy of Ralph Vaughan Williams. With his most iconic choral work at its heart, the radiant Mass in G, this sequence from the Carice Singers interweaves his music with that of his pupils and friends. His support of female composers such as Ina Boyle, Elizabeth Maconchy and Imogen Holst shines a light on the radical outlook of a man mistaken for a conservative.
Highlights of the programme include Gustav Holst’s enchanting ‘This have I done for my true love’ alongside an evocative soundscape from Vaughan Williams’ Swedish contemporary, Hugo Alfvén, depicting the evening sun as it sinks into the sea.
The Carice Singers was founded by George Parris in 2011 and began life performing Elgar’s part-songs in the North Cotswolds. Naming itself after Elgar’s only child, the choir was soon registered as a charity with the aim of supporting early-career ensemble singers. The group is also committed to promoting curiosity and appreciation for its ever-widening repertoire amongst people of all ages, just as Carice Elgar showed a quiet but resolute sense of duty in securing her father’s legacy.
Today the choir is emerging as one of the most distinctive vocal ensembles in the UK, defined by its unique sound and imaginative choice of repertoire. Having made three successful early recordings with the Naxos label, the group has since recorded for the BBC Music Magazine and have performed live on BBC Radio 3’s In Tune.
Recent engagements have included Nordic Reflections at Kings Place and a week- long residency at the Cheltenham Music Festival.
‘The young Carice Singers, under director George Parris, are totally at one with this repertoire, their expressive voices contemplating the composer’s intentions with captivating interpretations.’ Choir & Organ Magazine