Welcome

The genesis for tonight’s programme began several decades ago, through collaborations between David Dolan and me in the overlapping worlds of classical and jazz improvisation.  As we improvised together, it became clear that David had skills and ideas ideal to share with the Renga Ensemble that I was leading at the London Philharmonic Orchestra and I invited him to work together on a project with the group. He gradually led me to Robert and his work both as pianist and musicologist/composer. With Eclectic Voices we’ve had the wonderful experience of studying and performing Robert’s completion of Mozart’s Mass in C Minor and Requiem over the past three years, leading to tonight’s collaboration which includes both Robert and David as soloists. It is well known that Mozart and Beethoven were proficient and regular improvisers, additionally reinterpreting their composed works when employed at the keyboard in the role of soloist or accompanist.  Robert and David are leaders in rediscovering this concept and will share with us some of their insights between performances of the two composers’ works, particularly the fantasia that leads to Beethoven’s hefty set of variations, topped by the grandeur of the vocal soloists and choir.

Eclectic Voices celebrates 35 years of singing together this season; we have been blessed to work regularly with wonderful artists from across the musical spectrum of classical, folk, gospel, jazz and world music. One of my enduring memories is performing the Coronation Mass, in the choir’s earliest years, with Colin Davis, soon to become ‘Sir’ and conductor of the London Symphony Orchestra. He was Patron of the Highbury Festival where I was artistic director, and in planning, he surprised me with two statements: first, that orchestras often didn’t realise that choral music was the most beautiful, and second, that I must write a new piece for our concert together. We agreed on the Coronation Mass and for me to write for the orchestra, and this blend of old and new has been a trademark of the choir ever since.

Choosing the Mass for our anniversary therefore seemed an obvious choice. And who better to lead a team of outstanding young Guildhall soloists than Emma Kirkby, who stands out for her iconic sound, easy musicianship, and mentoring of aspiring singers. I also wanted to incorporate Mozart’s Laudate Dominum, and though it comes from the ‘Confessor’ Vespers, it occurred to me that it could fit satisfyingly between the Gloria and Credo, where in Salzburg a choral motet may have been sung. As it is in the key of F, with which Mozart begins his concluding Agnus Dei, its addition provides a pleasing balance to the structure of the Mass, which of course was intended as a liturgical rather than concert piece.

May I gratefully thank Guildhall School of Music & Drama for their continued support, encouragement and outstanding quality of work across the board in the production of this and every event with which I have been associated.

– Scott Stroman