Horsham Concert

The choir returned to Horsham after some ten years, this time to the splendid Town Hall for a Sunday afternoon concert.

Following an acknowledgment to the local indigenous Djura Balug people, compère Tony Davies back-announced the opening number Gwŷr Harlech and introduced the teetotaller’s anthem Rachie, the well-known Morte Criste and What Would I Do Without My Music.

Bass Bob Ash presented a fine solo Prince Among Men to start off the mining bracket. The choir’s chaplain, Horsham-born Rev. Tom Morgan spoke about his gold-mining antecedents before leading the choir in the rousing Working Man with the audience eager and willing to join in with the reprise. They were in fine voice, too, on the choruses to the following number Cwm Rhondda, vicariously echoing one of the hymns sung at the royal wedding.

The theme then changed to different varieties of love with, firstly, the a cappella lullaby Si Hei Lwli ‘Mabi before Anfonaf Angel with beautiful flute accompaniment by Bendigo chorister and flautist Nigel McGuckian. Then came The Rose and the emotive You’ll Never Walk Alone led by the well-modulated baritone voice of Roger Bartlett.

Before the last item before interval, When the Saints Go Marching In, Faleiry assiduously rehearsed the 320-strong audience in their parts for the final chorus, which they carried off magnificently when the time came.

The second half commenced with the popular opera chorus Speed Your Journey before the more modern Land of My Song, the choir’s specially commissioned work by Paul Jarman, with excellent solos by John Adams and Geoff Roberts. The compère then set the historical background scene for Paul’s iconic work about the Aboriginal fighter Pemulwuy which was also enthusiastically received.

The focus then shifted from the dispossessed of Botany Bay to the wretched of the earth in Paris in 1832 with the medley from Les Misérables. The choir’s totally committed presentation, interspersed with sensitive solos by Roger Bartlett, caused a huge surge of applause for the production.

After patrons retook their seats, Drew Hopkins and Bob Ash led the choir in the special arrangement of Waltzing Matilda with several Welsh expatriates standing up for the interwoven Hen Wlad Fy Nhadau.

Another standing ovation ensued, thus encouraging Faleiry to instruct choristers to carefully pick their way off the stage to surround the marvellous audience to bid their fond adieus with the unaccompanied Eli Jenkins’ Prayer from Under Milk Wood. Given its alternative title of Sunset Poem and the time of day, the choir was able to finally chant, ‘And to the sun we all will bow And say, good-bye – but just for now.’