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Music and ChoirPeter Foggitt
June brings with it, after a fortnight of world premieres in mid-May, a return to more conventional repertoire: settings of the Communion service by Mozart, Sumsion, and Watson begin the month. Later, Haydn’s borderline-irreverent Missa brevis Sancti Joannis de Deo sets all the passages of the Gloria text simultaneously – meaning that the entire movement is only fifty seconds long – and the Missa Ego flos campi, by the Mexican High Baroque composer Padilla, is of an equally exuberant character. Finzi’s extraordinary setting of Richard Crashaw’s Aquinas translations – Lo, the full, final sacrifice – marks the feast of Corpus Christi; John the Baptist is honoured in Gibbons’ famed anthem This is the record of John, and in the monumental Vox dicentis: Clama of Edward Naylor.
We have welcomed Malachy Frame to the regular Sunday morning choir. He, like many of the choir, sings regularly with opera companies, and is currently engaged with Garsington Opera. Meanwhile, Peter is beginning work on an operatic adaptation of Matthew Lewis’s The Monk, to be performed in Durham next March, and Jess has been signed for international commercial representation by Hazard Chase; she is, at the time of writing, recording the role of Micah in Handel’s Samson with John Butt and Dunedin Consort.