Europe in Harmony concert – 13 April

Choral treasures of the Romantic era Dvorak’s Mass in D Plus gems by Brahms, Bruckner, Faure, Mendelssohn, Rachmaninov, Rheinberger and Tchaikovsky with Daniel Axworthy – Violin, David Leslie – Piano, Howard Kane – Conductor and Robert Woods – Accompanist

Forget March 29th, as we move into April the days will be longer and the treasures of Spring will be in full flow. Frodsham & District Choral Society will delight audiences with a full flow of European Musical Treasures on the 13th April.

We start with Dvorak’s Mass in D, a mass with many parts resonating with sounds of Spring and folk influences. The individual pieces take us on a journey through Europe as we sing in classical Latin, German, French and Russian. It will be a magical event as Daniel’s violin pieces transcends through the church.

As ever conductor, Howard Kane, will steer us on this journey and Robert Woods, our accompanist, will keep us on a harmonic track as we navigate through Europe. It’s a must see event giving the local community an opportunity to experience these great gems of music.

Tickets £10, under 16s free – Dandelion, 19 Church Street, Frodsham; Tilly Patel 07971 606409, Morag Bragger 07845 730061

Review Comments from our Spring Concert 2018:

‘The Vaughan Williams work was given an exquisite performance, beautifully calibrated and stylishly varied’ Roderic Dunnett, Church Times, April 2018

‘There was a fine virility and attractive vivacity to “The glorious company of the Apostles”, and the contrasting syncopations in the organ, arguably rather operatic in flavour’ Roderic Dunnett, Church Times, April 2018 ‘Whether a great work or not (Elgar would not have employed constant repetitions in the same lumbering manner), the Te Deum is unashamedly and justifiably celebratory. With their undoubted verve, vigour, and high spirits, the Frodsham choir made it a spirited experience’
Roderic Dunnett, Church Times, April 2018

And the full choir, coasting blithely through the section “Go through the gates”, felt on top form, especially with the upper voices’ fade to pianissimo which concludes the section, matched in reverse by the ascent from serenity to rapture (“But thou shalt call thy walls Salvation, and thy gates Praise” Roderic Dunnett, Church Times, 2018