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This page is under construction! The first idea of a Choir in Solihull was in 1944, so there's quite a lot to catch up on!
The Choir in the early 1980s with their then conductor, John Simpson. There are still a few members who can spot themselves! Previous Conductors
Dress Rehearsal with Michael Savage, November 1999 Here is a review dating from 1973:
GOOD INTERPRETATION OF EXACTING WORK FROM CHANDOS CHOIR
The Chandos Choir of Solihull Society of Arts opened their concert in Olton Friary with a rousing performance of “Zadok the Priest” by Handel. The ringing tone of the sopranos, and good diction with well articulated staccato passages from all the choir was especially striking. This is a good work with which to open a concert, if performed well – which it certainly was. This was followed by “Exhortations” – a song cycle by John Simpson, the conductor of the choir. The work, effective at the R.B.S.A., was far more moving in these congenial surroundings. The attractive piano-part, confidently well-played by Jill Godsall, gives little help to the singer – though the work is admirably suited to Margaret Cornforth’s voice. Her purity and clarity of tone with vibrant vowel sounds and the deep feeling with which she sang throughout, made this difficult work sound effortless. was strong and vibrant throughout.
FAMILIAR
Unfortunately, owing to a programme change, we were not given the chance to hear Kenneth Leighton’s “Et Resurrexit”. This was replaced by the far more familiar Fantasia in G major by Bach. The work was confidently played by Colin Edmundson on an attractive instrument, well-suited to the fine acoustics of the Friary. The main work of the evening was Mozart’s Requiem Mass. The choir gave a very spirited, well-disciplined performance. They excelled particularly in the frequent fugal passages – the Hosanna sections of both the Sanctus and the Benedictus are fine examples – where the tone was strong and vibrant throughout. The interpretation was good with effective contrasts – as in the Lacrimosa – and some lovely intense singing, particularly in the Hostias – though occasionally the tone became a little hazy. The choir paid great attention to detail with precise entries (though there were one or two lapses in the Agnus Dei) and scrupulous timing, with the numerous semiquavers on a well-held line.
SOLOISTS
A fairly large proportion of the work is for solo voices – and we were not disappointed. The four soloists were very well-matched as was shown by the lovely quartets, particularly the Recordare. Jonathan Gibbs sang extremely well – his voice is well suited to this type of work with even tone and a pure, resonant line. John Harris also has an attractive voice, powerful and vibrant, particularly in the Tuba Mirum. Enid Thomas has a pleasing, rather gentle voice, and though in quartets of this kind the contralto voice can suffer, she held a firm line throughout. It was our second chance to hear Margaret Cornforth and she followed her earlier performance with one of equal merit. She sang expertly, with excellent breath control, and a lovely floating treatment of the higher notes. It only remains to praise Jill Godsall, reliable. and competent as ever, and the choir’s young conductor John Simpson, who showed himself , equally capable as a composer. He was in full control throughout and with his precise gestures, holding the full attention of the choir, obtained the exact effects he needed to make the performance of both the Handel, and especially the Mozart most enjoyable.
S.A.S., 1973
HERE is a printable version.
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