Vic Welsh Performances in 2017
In reverse date order
3rd December 2017
So successful was last year’s concert with carols, that we were
delighted to be invited back again to the acoustically blessed 1860
Uniting Church. At that concert Keva Lloyd, a very new Bendigo branch member,
attended his first full concert and here, twelve months on, he is
compèring proceedings for the first time. The Rev. Lindell Gibson
welcomed the choir before we launched into our opening Welsh number Gwŷr Harlech. Then came Y Tangnefeddwyr (The Peacemakers), an a cappella version of Ar Lan Y Môr and the old favourite Morte Criste.
Thanks to the words being projected on to walls at both ends of the church, choristers and audience alike then sang the first carol Silent Night.
Following this, the accompanist was silent during our lullaby Si Hei Lwli ‘Mabi. The Bette Midler classic The Rose came next followed by the inspirational You’ll Never Walk Alone from Carousel.
The choir’s chaplain, the Rev. Tom Morgan, spoke about his grandfather and great-grandfather being gold miners in Buninyong before dedicating Working Man to all miners and leading the choir in this very emotive song. So well-known has this paean become that Faleiry had no trouble inviting the congregation to join in with the final choruses.
With everybody singing together, and very accomplished descants coming from the ladies, the church was further filled with the uplifting carol O Come All Ye Faithful.
Immediately after interval we sang the choir’s specially commissioned work Land of my Song with sensitive solos from baritone John Adams and tenor Geoff Roberts. Keva then gave a very informative and up-to-date introduction to the second Paul Jarman composition, Pemulwuy.
The third carol’s words then appeared with the whole assembly singing Good King Wenceslas with men on the second verse and ladies on the third.
The mood then turned somewhat anti-monarchical as we thundered into the spirited medley from Les Misérables featuring lovely solos on I Dreamed a Dream and Bring Him Home by tenor Rushan Hewawasam.
After the sustained applause had died down, Faleiry encouraged everyone in the church to sing Waltzing Matilda while a section of the choir sang the Welsh National Anthem at the same time. Lindell thanked us again before we came off the stage to surround the audience to sing our heartfelt farewells with Sunset Poem.
It was a marvellous way to finish off this special concert – the choir and the congregation were all in good voice, brought together harmonically on the carols and other tunes, all enhanced by the superb sound that only churches of this age and design can deliver.
Audience comments included:
25th November 2017
The choir was pleased to return to Holy Trinity Church, Maldon for a Sunday afternoon concert on 25 November.
Gwŷr Harlech opened proceedings in a suitably upbeat tone before the enthusiastic congregation joined in singing the English verses.
This was followed by Morte Criste, Y Tangnefeddwyr, Yfory with a delicate flute introduction by Bendigonian Nigel McGuckian and What Would I Do Without My Music.
Versatile compère Stephen Pepper then introduced the educational segment and successfully taught patrons to pronounce the full version of LlanfairPG. Mightily relieved that they could now all get past the pearly gates, the choir brought them back to earth, just beside the sea, in fact, with Ar Lan Y Môr, beautifully sung without accompaniment.
The Bendigo group’s pianist Elizabeth Paton then took her place at the keyboard and sensitively accompanied flautist Nigel as he excelled on Bach’s Sonata in E Minor and then on a more modern tune Sunstreams by Ian Clarke.
Tenor Drew Hopkins then stepped forward to confidently lead the choir in the challenging Diolch I’r Iôr. Heading for the closing song for the first half, Faleiry made sure that the audience knew when to come in at the end of the rousing When the Saints Go Marching In with yet another tour de force by Lorna on the keyboard. This they did splendidly before everyone was happy to take a drinks break on a very warm day.Multi-talented Elizabeth opened the second half by introducing JS Bach’s Prelude and Fugue in E Minor before positioning herself at the Holy Trinity organ. Those choristers sitting in the choir stalls were treated to a close-up display of her dexterity including some very nimble footwork.
Nigel’s flute introduced the next number, the haunting choral arrangement of Gounod’s Sanctus with a very well-modulated solo by tenor Ed Hughes.
Bass Bob Ash introduced the mining segment and masterfully sang an a cappella rendition of A Prince Among Men, followed by Geoff Serpell on the powerful Working Man.
Switching to a love theme, tenor Rushan Hewawasam beautifully caught the romance of Suddenly from Les Mis. This was followed by the lullaby Si Hei Lwli ‘Mabi, The Rose and the heart-tugging You’ll Never Walk Alone.
On a hot and humid day, we were suitably refreshed by Barry McMahon’s stirring Wild Mountain Thyme, Drew’s peripatetic Spanish Lady with castanet accompaniment and the final chorus of Waltzing Matilda with soloists Drew and Geoff, leading to the simultaneous singing of the Welsh National Anthem by some of the choir.
Julia Nutting thanked the choir for a great concert before choristers carefully picked their way through cables and other potential hazards to surround the assembled company with the famous farewell of Sunset Poem from Under Milk Wood.
"Splendid day last Saturday.
"Once again, thank you so much for the lovely afternoon we had on Saturday, and for all you did to make it happen. A memorable occasion; and we admired the way the singers - not to mention the 'bumping party' - seemed unaffected by the heat - most professional.
"Program as inviting as ever and its execution of course impressive - and the exercise does show the church to advantage, with its atmosphere and acoustics. You bring out the best in Holy Trinity! We do appreciate your willingness to come, and look forward to next time!
"And it's particularly good that the day was pleasingly profitable for us as well as enjoyable. Thank you again - please greet the choir members and Faleiry and let them know of our thanks and appreciation. Best wishes, Julia."
19th November 2017
On 19 November, a Sunday afternoon concert was presented at Sackville Grange Retirement Village where chorister Colin Roberts resides with his wife Ann who also worked the sound system on the day.Rushan was then joined by Drew Hopkins on the romantic ballad Perhaps Love and then a change of pace on to the rousing When the Saints Go Marching In with lusty singing from all the pre-rehearsed patrons on the final chorus.
After interval, they had another opportunity to sing on the English verses of Men of Harlech before tenor Gordon Parsons took the mic to sweetly lead the choir All Through the Night. Safely home, Drew and Rushan were back to present the emotional immigrant song Isle of Hope, Isle of Tears.
The choir next sang in the third language for the day with the Anvil Chorus from Il Trovatore complete with stirring anvil work by blacksmith Col Evans. The iconic Working Man was then sung, fittingly, by Tom Morgan whose grandfather had been a gold miner.
What Would I Do Without My Music followed and then it was time for another solo. Tony Hosemans set the scene for The Goodbye Song from Whitehorse Inn and masterfully sang it without accompaniment in the middle of the audience who certainly appreciated the feat.
Drew was up again with the Irish song Spanish Lady. The non-appearance of castanets did not faze fellow tenor Geoff Roberts who improvised marvellously with a pair of dessert spoons from the kitchen.
During the sustained applause Drew had a little time to draw breath before being joined by bass Graeme Sanderson on the modern version of Waltzing Matilda which segues into the Welsh National Anthem. After thanks, choristers walked off to Men of Harlech before reassembling around the room to sing their farewells with Sunset Poem.
The concert was great fun and the very musical audience played their part too, to make a very enjoyable intimate type of concert.
Audience comments included:
I had been before to a concert and this lived up to all my high
expectations.
A good program, excellently presented. The harmonising was
excellent and the humour appropriate. Don
I loved it all - thank you. Nancye
Wonderful Sunday afternoon entertainment - varied program. Look
forward to future concerts. Barbara
Fantastic music, loved joining in Men of Harlech. Lots of laus. Jan
We thoroughly enjoyed the whole atmosphere, and loved the choir and the rendition of the traditional Welsh songs - Keith & Betty
I had a most enjoyable afternoon attending a concert performed by the choir. Kath
5th November 2017
Accompanied by the Royal Australian Navy Band (Bandmaster Chief PO Gabe Kicsak), the choir led the singing with O Valiant Hearts, Abide with Me, O God Our Help in Ages Past and Advance Australia Fair.
13 July 1927 – 29 October 2017
On Friday 3 November, about thirty choristers took part in a service at Kyneton to celebrate the life of our esteemed Bendigo member, George Murphy. Celebrant Barbara Talbot commenced the service by inviting members of the three generations of George’s extensive family to light candles. Daughters Ann and Lynn lit the candle representing the Past, five grandchildren lit the Present and four great-grandchildren lit the Future, although all their instincts then leant towards wanting to blow them all out!
The choir then sang the lullaby Si Hei Lwli ‘Mabi, one of two tunes specifically chosen by George.
Ann and Lynn described his very interesting life in the UK as well as in Australia and spoke lovingly of their father and of his ongoing influence on their lives.
The choir stepped up again to farewell him with the irreverent but beautiful Sunset Poem.
After readings by grandchildren, there was a wonderful photographic presentation of George’s rich and varied life, accompanied by well-known excerpts from his favourite Gilbert and Sullivan operettas, a few of which he had performed in over the years.
Finally, the choir and the congregation combined to sing George’s favourite hymn, Onward Christian Soldiers, before the family accompanied the casket outside to the hearse.
On his very recent trip back to the UK, with Ann and Lynn, they had managed – along with his great great-nephew, a Liverpool supporter - to see his beloved football team Everton beat Bournemouth. Amongst other admirable traits, George was generous enough to choose Pool’s anthem, You’ll Never Walk Alone as his Leaving Song, this time sung by his favourite Welsh bass-baritone, Bryn Terfel.
Bedford Heights, 29th October 2017
It was a pleasure to return to Bedford Heights Retirement Village after two and a half years.
The choir commenced with the old favourite We’ll Keep a Welcome. After a reciprocal welcome from the village representative, we were into the nostalgic Yfory (Tomorrow). Next was Calon Lân;
as this is a favourite of Mick Matthews, ex-President of the choir and
resident of the village, he was invited to join the choir to help us
sing this rousing tune. Needless to say, Mick hadn’t forgotten any of
the words. This was followed by Cwm Rhondda which was the opportunity for all the other patrons to heartily join in with the choruses.
Compère Bob Ash introduced the next bracket – The Rose, You’ll Never Walk Alone (soloist Roger Bartlett), Si Hei Lwli ‘Mabi (soloist Tony Hosemans) and the Rutter arrangement of When the Saints Go Marching In. Faleiry rehearsed the eager audience several times in their final choruses and so the first half came to a joyful and uplifting finish.
The second half started with the famous Men of Harlech followed by All Through the Night with tenor soloist Gordon Parsons. Roger came back on the mellifluous Homeward Bound before a small anvil was manoeuvred on stage by ‘blacksmith’ Col Evans to accompany the choir in the Anvil Chorus, sung in Italian.
Versatile compère Bob was next with a stunning performance of A Prince Among Men. Adding to the mining theme, Tom Morgan told the heartbreaking tale of a Working Man backed up by the choir.
This was followed by John Hales and Geoff Serpell’s first public performance of the witty Agony by Stephen Sondheim from his show Into the Woods.
Hard-working Geoff stayed on stage and was joined by Drew to launch into the modern arrangement of Waltzing Matilda, the final chorus of which found a section of the choir also singing the Welsh National Anthem (Hen Wlad Fy Nhadau) at the same time.
Then it was time for Drew to perform the spirited Spanish Lady with castanets and flamenco by Geoff Roberts and enthusiastic clapping by choir and patrons alike. After the final Olé the choir was thanked by Helen, of the organising committee, and then the choir surrounded the audience to sing its farewells with the haunting Sunset Poem – a beautiful ending to an afternoon’s shared musical journey.
Audience comments included:
With David Hobson
22nd October 2017The choir got off to a traditional rousing start with Gwŷr Harlech (Men of Harlech) before compère Drew Hopkins welcomed the full house and introduced the opening bracket.
The well-known Morte Criste was followed by a modern song Y Tangnefeddwyr (The Peacemakers) before Faleiry stepped away from the podium, closer to the choir, to lead them in a stunning a capella version of the romantic Ar Lan Y Môr. Singing unaccompanied begged the question What Would I Do Without My Music, which was answered very satisfactorily if the audience’s applause was anything to go by.
The star of the show, David Hobson, then strode on to the stage and,
with his inimitable warmth and engaging personality, explained the
operatic context of his opening four songs from his formidable
repertoire. Accompanied by our hugely talented pianist Lorna Ogilvie,
the first two were by Handel - Where’er You Walk and Silent Worship. These were followed by E La Solita Storia Del Pastore from the opera L’arlesiana and Leoncavallo’s Mattinata, first recorded by Caruso in 1904.Switching easily from Italian to Welsh, he then led the choir in singing the lullaby Si Hei Lwli ‘Mabi.
Continuing the opera theme, the choir boldly sang the Soldiers’ Chorus from Gounod’s Faust and then switched into Italian for the Anvil Chorus from Verdi’s Il Trovatore, complete with Col “Blacksmith” Evans on anvil. Linguistic dexterity continued with David leading the choir in the French March of the Toreadors from Bizet’s Carmen with Faleiry encouraging patrons to join in with the chorus. From French/Spanish bull fighters, it was no musical stretch at all for David to grab his guitar to tell the spirited tale of the Spanish Lady roaming around Dublin’s fair city. Choristers (some with castanets) and audience alike had great fun combining on enthusiastic but synchronised clapping right up to the final Olé!
Right after interval, David came on holding a mysterious striped plastic bag. Observing that the choir is made up of men from a remarkable diversity of backgrounds and careers, he proceeded to empty the contents to reveal his personal collection of vintage Jethro Tull LPs and asked our John Evans, ex-keyboard player for that UK group, to step forward and join him. After a bit of banter, David was very pleased to get John to autograph one of his records.
David spoke a little about his own start in a band and, accompanying himself on piano, sang one of his own compositions Tomorrow, Tomorrow.
Gearing up once again with the Welsh language, David’s soaring tenor voice led the choir on Ar Hyd Y Nos (All Through the Night) and on the welcoming song Unwaith Eto’n ‘Nghymru Annwyl (Once Again in Dear Wales) which we had sung with him on last Friday’s ABC 774 radio show The Friday Revue.
Drew explained the background to the two Paul Jarman songs before we emotionally engaged with the wonderfully nostalgic Land of My Song with fine solos by bass Bob Ash and tenor Geoff Roberts. This was followed by the confronting tale of Aboriginal guerrilla fighter Pemulwuy with its war cries and co-ordinated clapstick work from choristers.
David came back on stage to deliver the nationalistic Anthem from Chess followed by the lovely If I Loved You. Referencing another musical, David’s magnificent tones filled the hall with the assertive I Don Quixote from Man of La Mancha. After sustained applause, David nimbly changed continents once again to stride the stage with a suitably dramatic tour de force on Sit Down You’re Rockin’ the Boat, backed up by the choir Guys if not the Dolls.
With this great flourishing finish, the whole theatre gave David a cacophonous and heartfelt acclamation for his star performance this afternoon.
The choir’s finale was the iconic medley from Les Misérables with a lovely sympathetic solo from Rushan Hewawasam on I Dreamed a Dream. The musical’s showcase solo Bring Him Home was exquisitely and sensitively sung by David alone to huge applause. The choir finished with the rousing chorus and David, Rushan and the choir were generously and noisily acknowledged.
There only remained the intricate and clever pairing of the Welsh National Anthem (Hen Wlad Fy Nhadau) with Waltzing Matilda and this epic and wonderfully musical afternoon came to a fitting end.
20th October 2017
Presenters Brian Nankervis and Richelle Hunt invited David Hobson to be a part of their ABC Radio show on Friday 20 October as a lead-in to his big concert with Victoria Welsh Choir at the Melbourne Recital Centre on the 22nd.
Led by Faleiry Koczkar and accompanied by Lorna Ogilvie, about twenty choristers backed David singing Unwaith Eto’n ‘Nghymru Annwyl (Once more in dear Wales), one of the numbers to be performed on Sunday.
The 426-seater purpose-built Union Community Arts Centre was an absolute sell-out, having to turn away people seeking tickets at the door.
The choir opened with the resounding What Would I Do without My Music and then compère Drew Hopkins introduced a bracket of Welsh numbers – Blaenwern, Y Tangnefeddwyr (The Peacemakers), Yfory (Tomorrow) and the well-loved Cwm Rhondda with the whole audience eager and willing to join in with the choruses.
The Newhaven Girls’ Vocal Group, led by Kerryn Lockhart and accompanied by Daniel Moldrich, then came on stage to perform four numbers. A lively arrangement of Sanctus was followed by the beautifully sung Night of Stars, Night of Love by Offenbach. A Place by The River by Melbourne song-writer Eddie Perfect was followed by the upbeat Accentuate the Positive. The precision harmonising and lovely tone was rightly applauded by the whole theatre.
Before the first half’s closing number, Faleiry rehearsed the capacity audience (three times) in the final choruses of the rousing Rutter arrangement of When the Saints Go Marching In. When the time came, the effect was so good everybody had to repeat it before a well-earned interval.
After the break, organiser Graham Wilson and another member of the church thanked everyone for coming and contributing to the cause before introducing composer Larry Hills. Larry spoke of the mining tragedy of 1937 which killed 13 men below ground in a local coal mine. As a memorial to this event, Larry had composed Miners’ Requiem. Although previously performed by a mixed voice choir, today would be the first time by a four-part male choir. Eight choristers (two from each section) chanted the first thirteen bars starting with ‘Requiem aeternam…’. As the whole choir sang the narrative verses describing the disaster, these soloists would interweave with the repeated phrases. The final chorus of the requiem, in four-part harmony, echoing the choirs of South Wales’ mining villages, brought the work to a fittingly sad and bitter-sweet ending, resonating deeply with the local audience.
Continuing the mining theme, bass Bob Ash went forward to deliver for the first time a stunning a capella rendition of A Prince Among Men by Irish musician Andy Irvine. As the sustained applause died, fellow bass Barry McMahon, backed by the choir, told the moving tale of another miner in the well-known song Working Man, again to prolonged acclamation.
Then it was time for another local to perform. Joshua Hooke seated himself at the piano and treated the whole theatre to a hugely confident and masterful recital of three movements from Mussorgsky’s Pictures at an Exhibition. Compère Drew very appropriately brought Joshua back on stage to acknowledge the audience’s loud appreciation.
From Russia with love back to Wales with the choir’s specially commissioned work Land of my Song by Paul Jarman. This heartfelt song of nostalgia for the old country featured strong solos by Bendigonians John Adams and Garry Salisbury. Paul’s contrasting but iconic Pemulwuy followed before John Hales and Geoff Serpell combined in a comic sketch with Ah Still Suits Me from the 1936 film version of Show Boat.
For the concert’s finale, Mississippi gave way to the Les Misérables medley featuring touching solos by Rushan on I Dreamed a Dream and by Roger on Bring Him Home.
After the final flag and the theatre’s rapturous applause, there only remained one more number to close – Waltzing Matilda sung by half the choir and the audience against the Welsh National Anthem Hen Wlad Fy Nhadau.
Comments received from the audience included:
The choir was invited to lead the singing at evensong at St Peter's. We did this from the organ loft, hardly visible to the congregation. The conducting was shared between Rhys Arvidson, the church's organist and our own Faleiry Koczkar.
The service commenced with the choir singing, as the Introit, the traditional Welsh lullaby Si Hei Lwli ‘Mabi. We then joined Father Hugh Kempster for Preces and Responses, and led the singing of Psalm 145, followed by the Office Hymn, the Welsh favourite, Cwm Rhondda, sung in English as Guide Me, O thou Great Redeemer.
The well known cartoonist Michael Leunig delivered the address. This was followed by the choir’s last piece, Sunset Poem from Dylan Thomas’ Under Milk Wood, sung to Troyte’s Chant. Then followed congregational singing of Bryn Calfaria and Hyfrydol, and the final Benediction and psalm.
Following the service, wine and cheese was served in the adjacent hall, and chorister Roger Bartlett entertained those present by leading an impromptu version of Calon Lân.
Afterwards Faleiry received the following message from the Vicar, Father Hugh Kempster:
"Dear Fal, Diolch yn fawr! It was such a joyful evening, from the formalities in church to the spontaneous singing over supper. Please pass on my sincere thanks to all those who sang; we were blessed! Warmest regards, Hugh."
Applewood Retirement Village, 17th September 2017
The choir was pleased to present a short concert at the magnificently appointed Applewood Retirement Village. With all seats sold, the audience eagerly anticipated the opening number which was the rhetorical What Would I Do Without My Music.
Compère Bob Ash introduced the music team and gave information about the three next songs. The choir launched into the well-known Morte Criste, the lovelorn Welsh tune Yfory (Tomorrow) and then bass Geoff Serpell took up the cause of the Working Man in a splendid solo performance, aided by the choir and many audience members.
Next up was bass-baritone Roger Bartlett who showcased his amazing vocal range on Let Me Fall.
Speed Your Journey or the Chorus of the Hebrew Slaves from Nabucco was next before a master class of singing and comic timing from tenor John Hales and bass Geoff Serpell with Ah Still Suits Me from the 1936 musical Show Boat.
In an impromptu step away from the program, Faleiry wondered how many patrons had heard Welsh actor Owen Teale sing Calon Lân (A Pure Heart) in the recent ABC series Pulse. After a moment’s hesitation from accompanist and choir alike, we sang the first verse and chorus of this iconic Welsh tune.
Then it was into the dramatic finale with the Les Mis medley with marvellous solos from Roger Bartlett and Rushan.
To end on a Welsh-Australian, we sang the final choruses of Waltzing Matilda with the Welsh National Anthem overlaid by half the choir.
We left the stage to the strains of Men of Harlech before surrounding the very appreciative audience and singing our farewells with Sunset Poem.
Audience feedback included:
As the lights came up the choir was revealed to sing their opening number What Would I Do Without My Music. Compère Drew Hopkins then welcomed the capacity audience before local member Nigel McGuckian spoke in the local language as an acknowledgment to country which translated as ‘I honour the wisdom of the Dja Dja Wurrung. We will speak words of truth and listen to your wisdom.’
Faleiry led the choir, accompanied by our legendary pianist Lorna Ogilvie, in an opening Welsh bracket of Blaenwern, Y Tangnefeddwyr (The Peacemakers), Yfory (Tomorrow) with a haunting flute solo by Nigel and the well-known Cwm Rhondda with patrons eagerly joining in with the final Songs of Praises chorus.
Then the star of the concert came on stage, opening with the iconic You Raise Me Up before a change of pace with a beautifully modulated Memories from Cats. With her accompanist, the musical polymath David Cameron, Silvie then showcased her extraordinary range in a Rodgers and Hart medley. Love was in the air and the whole theatre fell under Silvie’s spell.
Silvie then stayed on stage to lead the choir in the rousing You’ll Never Walk Alone before exiting to more sustained applause.
Lovelorn choristers next launched into a sensitive rendition of The Rose which led into the special arrangement of When the Saints Go Marching In topped by the pre-rehearsed audience lustily singing (and repeating) the final choruses.
After interval, Terry Dalwood from Rotary spoke feelingly about Peter Ryall’s crucial role in helping to organise the initial concert two years ago. His cousin Keith said Peter’s suicide had touched many but his estate had now donated $30,000 to Lifeline through Terry. Terry then introduced two benefactors of Rotary scholarships for Bendigo Senior Secondary School students. The 2015 winner Aidan Purdy brilliantly showed the amazing versatility of the tuba in a very modern piece entitled Sonate en 6 minutes 30 by Claude Pascal.
He was followed by the 2016 winner soprano Deanna Jerman in another modern number I’ll Be Here from the musical Ordinary Days. Her bravura performance of this technically challenging and bitter-sweet song was justly rewarded by heartfelt applause.
Then it was time for the Bendigo branch of the choir to come on stage and surround their talented accompanist Liz Paton (she is also the choir’s organist) on the 1935 Cole Porter classic Begin the Beguine complete with some spirited, but very cool, percussion by some of the group.
Compère Drew followed this by mentioning that Peter Ryall’s estate had also donated a portable piano to the group to be used in their rehearsal spaces. Although an established and thriving chapter, they are always looking for new members.
Silvie re-entered to light up the stage again to sing the very appropriate What the World Needs Now. Having established there were at least a few people with Italian background in the stalls, Silvie thrilled the theatre with the well-known aria Non Ti Scordar Di Me.She then invited everyone to sing along with her on It’s a Wonderful World – and patrons and choristers alike were happy to do so. Then on to the Dalla masterpiece Caruso, full of passion and love and superb singing which gave everybody goose bumps, such was its vocal and emotive power.
Multilingual Silvie then added Welsh to her repertoire with her pure soprano voice on the first verse of the a capella lullaby Si Hei Lwli ‘Mabi which the choir, after an imperceptible change of key, completed.
Drew gave the background for the next two Paul Jarman songs, the first of which was specially commissioned by VicWelsh. Bendigonians John Adams and Garry Salisbury skilfully and confidently made their voices reverberate throughout the auditorium in Land of my Song. This was followed by the iconic and contrasting Pemulwuy.
Back came Silvie to reprise her career-defining roles in the medley from Les Misérables. Sung with power and precision, she captivated the audience and tugged at the heartstrings on the hugely emotional On My Own. Roger Bartlett’s rich baritone voice added to the pathos with the sensitively delivered Bring Him Home.
The medley and Silvie simply electrified the theatre and the climax elicited thunderous applause.
As that died down, the choir took up the well-known refrain from Waltzing Matilda which then morphed into Silvie and the audience singing the English words and Faleiry and half the choir singing the Welsh national anthem Hen Wlad Fy Nhadau.
It was a very fitting finale to the wonderful musical experience that everyone had participated in, blessed by the superb acoustics of the architectural triumph which is Ulumbarra Theatre.
Post-concert comments included:
Ballarat Open Rehearsal
12th August 2017
Choristers from Blackburn and Bendigo joined colleagues in the Ballarat branch at the open rehearsal. The combined choir of 25 voices, led by Faleiry and accompanied by Lorna, ran through half a dozen songs which gave local members particularly the full effect of singing in four-part harmony. It was gratifying that two members took the opportunity to have their second voice tests and it is hoped that the small number of visitors will become members of this fledging but very keen group. If you are interested in joining please call John White on 0402 808 299.
Mornington
Parkhill Gardens, 20th June 2017
In March 2016 our small choir was hired to sing at Nancy Harradine’s 100th birthday at Parkhill Gardens Aged Care Facility, a splendid occasion for Nancy and her family and for the other residents. Since then she has unfortunately died and left specific instructions that she did not want a funeral service. As her daughter-in-law explained, the family realised that many of Nancy’s fellow residents had felt the lack of an opportunity to pay their respects to their friend so we were invited back to present another mini-concert to both celebrate and farewell this remarkable centenarian.
The choir took a rest while bass-baritone Roger Bartlett entranced patrons with the beautiful Homeward Bound. The Rose came next and then You’ll Never Walk Alone which spontaneously prompted many to sing along with the choir. In contrast, the choir then ‘cwtched up’ to sing the lilting Myfanwy, Nancy’s favourite Welsh song, without accompaniment.
Next up was Geoff Serpell with a masterly rendition of Working Man before Roger showcased his fine upper range with Maria from West Side Story.
Back the choir came for the final bracket – a singalong with all the patrons who had been issued with printed songsheets. Men of Harlech was followed by Cockles and Mussels, Loch Lomon’ and Auld Lang Syne with the marvellous sight of residents linking arms and swaying to the music.
We finished with our version of Waltzing Matilda combined with Hen Wlad Fy Nhadau.
After sustained applause and thanks, we were invited for afternoon tea which also provided choristers with an opportunity to mingle and talk to the residents. It was heartening to hear very positive comments as to our performance and to feel that we had been an integral part of saying goodbye to Nancy.
Portarlington, 10th and 11th June 2017
We were delighted to be back at the Festival again and were scheduled for two concerts and a workshop over two days.Despite a foggy morning across the peninsula and an early start, a very large crowd was eager to be seated and ready for the only choral event at the Festival.
After the traditional We’ll Keep a Welcome, we launched into our specially commissioned work Land of my Song with exemplary solos by bass Bob Ash and tenor Geoff Roberts. This was followed by the nationalistic O Gymru and Cwm Rhondda, at the end of which the audience was ready and very able to join in with the final chorus of Songs of Praises.
After exercising their voices, they were happy to listen to Roger Bartlett superbly channelling the weather with “In the quiet misty morning When the moon has gone to bed” as the lilting start to Homeward Bound.
Affirming the obvious, next was What Would I Do Without My Music before bass Geoff Serpell touched everyone’s hearts with the iconic Working Man. When the well-earned applause had died down, the choir went into the popular Gwŷr Harlech march tune with some knowledgeable patrons singing along.
Bob came back to the microphone to tip his hat to another Festival performer Eric Bogle with a marvellously sensitive rendition of Shelter.
A change of pace then with Speed Your Journey and then total deceleration into the unaccompanied Myfanwy.
Showcasing further the choir’s talented group of choristers, Geoff once again stepped forward to join with tenor John Hales, suitably frocked up, to very humorously perform the duet Ah Still Suits Me from Showboat.
As a finale, the choir became animated revolutionaries in the Les Mis medley with very fine solos from Rushan Hewawasam and Roger Bartlett.
By the resounding applause, the audience would have been happy for us to continue but our hour was quickly up.
Compèring duties were shared by Tony Davies, Stephen Pepper and Bob Ash.
Comments included:
Harmony Workshop at St John’s Church 1.00-2.00 pm Sunday
Having set up a screen and a projector linked to a computer, we were joined by about twenty-five participants which nicely balanced the number of choristers. Faleiry’s extensive teaching experience came to the fore as she quickly established the not inconsiderable musical nous of the visitors. With nimble work on the keyboard by our equally experienced educator Lorna, we were all put through the rudiments of building up chords, note by note, with examples taken from Canon in D, The Rose, Working Man (Bob Ash), culminating in the very appropriate Sunset Poem. The hour went very quickly and much was achieved in that short time.
Comments included:
Concert at St Patrick’s Church 5.00-6.00 pm Sunday
A smaller venue than Parks Hall but the acoustics were better and, being away from the main festivities, we were not troubled by extraneous and competing sounds.
Compère Tony Davies introduced the first bracket of We’ll Keep a Welcome, O Gymru and Cwm Rhondda, again with audience participation, followed by What Would I Do Without My Music.
Alex van Mens then came to the front and brought his rich baritone voice to perform the popular Welsh tune Dafydd Y Garreg Wen.
Second compère Stephen Pepper took over the mike to give the audience a lesson in Welsh pronunciation using the well-known LlanfairPG village name. Education mixed with humour was a great hit with the assembled company as affirmed by the prolonged applause.
Equally well-received was the next number, Working Man, this time magnificently led by Bob Ash. The choir then stood and delivered Gwŷr Harlech before ceding the stage to Roger Bartlett with his well-honed Homeward Bound.
With the allotted concert time rapidly eroding, the choir nonetheless kept perfect time on Speed Your Journey before proving, once again, we could sing without music and accompaniment with Myfanwy. However, there was no time to linger over lost love as we quickly coalesced into the impoverished mob in the Les Mis medley with heart-wrenching solos from Rushan and Roger.
The pent-up emotion and the thrilling words made their musical mark on the marvellous audience with several leaping to their feet and leading the sustained applause. As our final appearance at the Festival, we finished off with the equally stirring Welsh National Anthem, Mae Hen Wlad Fy Nhadau. The audience didn’t want to leave and neither did we so we smartly stepped down from the stage to surround them all and to give our thanks to them with the beautiful parting words of Sunset Poem.
Comments included:
The Gathering in the main area beside Parks Hall 6.30 pm Sunday
We had thought that was our last farewell but we were invited to go down the hill to join the procession from the Rotunda to the tent area where we were asked to once again sing our farewells with Sunset Poem. It was a lovely and fitting moment, to say our last goodbyes to so many of the marvellously musical Festival patrons.
From the Valleys to the Hills was the name of our Sunday afternoon concert at the very well-appointed Burrinja Theatre in Upwey. After the introductory number What Would I Do Without My Music, compère Tony Davies made the point that Victoria Welsh Choir not only performs all over the state but our choristers come from as far north as Echuca and as far south as Mt Martha. The choir’s very active Bendigo branch was well-represented and we even had one member who had journeyed from our fledgling Ballarat outpost by train.
The patriotic O Gymru was followed by the iconic Working Man, introduced and energetically sung by bass Geoff Serpell, to much acclaim. Blaenwern (Love Divine) was next before the popular Cwm Rhondda. Faleiry coaxed the audience into joining in with the choruses, which they were happy and eager to do.
Our guest artists, the nine-piece Skylarks (the resident house band at the centre) then showcased to the patrons and the choir, their musical diversity with precision playing on Come to Mama, Nature Boy, Old-fashioned Morphine and Get Up, Stand Up, fronted by silky vocalists Snowy and Neesy.
The next choral bracket started with Speed Your Journey from Nabucco and then I’se Weary of Waitin’ with a solo by Bob Ash, drawing on his impressive bass-baritone range. The choir’s own commissioned work Land of my Song featured soloists John Adams from Bendigo and local Upwey chorister Geoff Roberts, who had been instrumental in much of the organisation of the concert. Paul Jarman’s famous but difficult work Pemulwuy was then sung with heartfelt gusto by the choir to finish off the first half.
After interval, the choir launched straight into Men of Harlech in Welsh before the audience joined in once again with the English words printed in the program.
To start off what was loosely described as a British medley, tenor Ed Hughes first pulled at our heartstrings with Danny Boy before Barry McMahon confidently asked us to help him pull up Wild Mountain Thyme. After all that exertion, it was time to put the baby to sleep with the a capella Si Hei Lwli ‘Mabi. Then it was time to wake up again with the very lively Britten arrangement of Oliver Cromwell, with the slightly uncharitable and cheeky exhortation to the audience to ‘Sing it yourself!’
The Skylarks (ehedyddion in Welsh) came back for their second bracket and livened up proceedings even more with Jeepers Creepers, Stronger than Me, All About That Bass and the nostalgic Love Potion No. 9, all featuring strong solos by individual musicians.
As the finale, the choir reactivated the Paris Uprising of 1832 with a medley from Les Misérables, featuring sensitive solos from Rushan Hewawasam and Roger Bartlett. As the final words rang out and the red revolutionary flag was waved, there was huge applause from the whole audience. After taking our bows we marched off to Men of Harlech while executing some nimble pincer movements so that first tenors and basses lined up to one side of the audience with the other two sections on the opposite side, to sing our Sunset Poem as a fond farewell. The afternoon’s musical journey was complete.
After the show, in The Skylarks Lounge, where the band had just racked up 12 months, the choir was pleased to sing Penblwydd Hapus (Happy Birthday) to them in Welsh.
We were delighted to be hosted by the Ballarat Uniting Church for the
fifth time in ten years to sing in the soaring acoustics of the Lydiard
Street Church.
Tenor Gordon Parsons gently set the Welsh tone on We’ll Keep a Welcome. This was followed by the patriotic O Gymru, the classic Blaenwern and the old favourite Cwm Rhondda.
Ambrose Morgan had the congregation chortling at the imagined
frustrations of a group of Welsh rugby visitors, with patrons happy to
join in with the choruses of Hymns and Arias.
Then a more serious bracket with Ed Hughes transcendently leading the choir in Latin on Gounod's setting of the ancient hymn Sanctus. Y Tangnefeddwyr (The Peacemakers)
was next, exploring the anguish of the poet’s pacifist parents when
their hometown Swansea was bombed in WWII. Equally tender was the
choir’s rendition of The Rose, as well as You’ll Never Walk Alone
from Carousel, but, as compère Bob Ash quipped, the latter was also a
song which had been very successfully adopted by Liverpool Football
Club. Next, bass-baritone Roger Bartlett stepped up to the microphone
to set the scene and to showcase his impressive vocal range on Let Me Fall, from Cirque du Soleil.
The last bracket before interval had the common topic of slavery with Speed Your Journey and Battle Hymn of the Republic
with very committed audience participation on the final chorus. It was
so good everyone had to do it again before a well-earned rest.
The second half started with the stentorian Men of Harlech,
sung in Welsh by the choir and then in English with the enthusiastic
audience joining in with the help of the words in the program. The
choir’s own stupendous commissioned work Land of my Song by
Paul Jarman came next with outstanding solos by Bob Ash and Geoff
Roberts. This was followed by another Jarman favourite, the vocally
challenging Pemulwuy.
Versatile and hard-working Bob then echoed what many expatriates feel about their adopted country with a finely modulated Shelter by Eric Bogle. The old favourite Amazing Grace followed, before a Welsh love song Yfory (Tomorrow) and then the marvellously emotive Working Man with fine soloist Geoff Serpell.
Another of the choir’s talented soloists Roger Bartlett retook the stage with the winsome Homeward Bound and then the choir fired up for the finale with four famous operatic choruses: Soldiers’ Chorus from Gounod's Faust preceded The March of the Toreadors from Bizet's Carmen (in
French) with a spirited solo by Barry McMahon. Then the choir showed
its linguistic versatility by launching into the fifth different
language of the afternoon – this time Italian in the Anvil Chorus from Il Trovatore complete with anvil-bashing (to time of course) by Col Evans. Then it was back to English for the challenging Pilgrims’ Chorus from Tannhäuser.
After sustained applause for a terrific concert, the choir came down to the tune of Men of Harlech before taking up position to sing their farewells to the assembled company with the haunting words of Sunset Poem.
The choir journeyed down the Great Ocean Road on 7 May for a Sunday afternoon concert at the Community Hall, to raise funds for the local Red Cross.
The show’s opener was What Would I Do Without My Music before a Welsh medley of We’ll Keep a Welcome (warmly sung by soloist Barry McMahon), Hymns and Arias, Calon Lân, Sospan Bach and Cwm Rhondda with the very musical audience happy to join in on the last chorus. Ambrose Morgan then told the humorous tale of an unlucky band of Welsh rugby supporters, to great acclaim. We don’t think they ever did make it to Warrnambool, to see whales play!
In our love bracket, patrons were treated to The Rose, You’ll Never Walk Alone, Si Hei Lwli ‘Mabi and the poignant Y Tangnefeddwyr (The Peacemakers).
Bass-baritone Roger Bartlett next stepped up to showcase his powerful vocal range with a solo performance of Let Me Fall, from Cirque du Soleil’s 20th anniversary show.
Picking ourselves up, the choir launched into Speed Your Journey and then finished the first half with Battle Hymn of The Republic, complete with lovely piccolo accompaniment by Nigel McGuckian and lusty audience participation in the final chorus. Lucky patrons near the piano were able to see close up, on both these demanding numbers, the flying fingers of our wonderful accompanist Lorna Ogilvie.
After an intake of ozone, we came back as the beleaguered Men of Harlech with the audience keen to once again join in with the English verse.
Versatile compère Drew Hopkins then described how the choir had commissioned Paul Jarman to write Land of My Song, using choristers’ own writings as inspiration, before the choir sang this very special work, with sensitive solos by Bob Ash and tenor Geoff Roberts. This was followed by the stirring tale of an Aboriginal guerrilla fighter, Pemulwuy, also composed by Paul.
From open warfare to domestic upset was next with seasoned performers, tenor John Hales and bass Geoff Serpell, marvellously combining on the very funny Ah Still Suits Me from the musical Showboat. Then we were on to more serious matters with the much-loved medley from Les Misérables, featuring the choir and solos by Roger. After sustained applause, we then presented a special arrangement of Waltzing Matilda sung by the choir and marvellous duettists Drew and Graeme Sanderson.
After an official thank you by the Red Cross’s President, we came off-stage to surround the audience and say our goodbyes with the haunting Sunset Poem.
The official memorial service for Jack Clarke was held at Queen’s
College in Melbourne on 7 April 2017. A large number of relatives,
friends and former colleagues were welcomed by the present Master, Dr
Stewart Gill.
Jack’s beloved choir, led by longtime friend Faleiry Koczkar and
accompanied by Lorna Ogilvie, opened proceedings with two hymns,
specifically chosen by him – Morte Criste and Gwahoddiad.
Heartfelt reflections, leavened by humour and wit, were delivered in
some style by Kate Kerr, Jack’s younger daughter and by past student
David Lawrence. Everybody in the hall could agree with the sentiments
expressed – pure respect and admiration for Jack with his legendary
compassion, fairness, humanity, love of family and, overall, simply for
his intrinsic goodness.
Former colleague Associate Professor Ronald Farren-Price played the
Adagio from Beethoven’s Sonata Pathetique Opus 13 before the Rev.
Professor Robert Gribben led the gathering in prayers.
Fittingly, the exit music was a recording of Vivaldi’s Gloria, performed by Queen’s College Chapel Choir in 1967, conducted by Jack’s beloved widow Elaine.
Of course, Elaine was for many years also an accompanist for Victoria
Welsh Choir and gave many years of devoted service to the choir, along
with Jack.
The choir’s Vice-President Drew Hopkins crafted the following words for the Memorial Service booklet:
Jack joined the Victoria Welsh Choir in April 1994, and, as both an administrator and a chorister, made a huge contribution to its success. Jack was at various times the choir’s marketing manager, a management committee member and the choir’s President, and was made a life member of the choir in recognition of his outstanding service. Typically, all these functions were carried out competently, with charm and grace, and with a nuanced understanding of people’s behaviour and needs. But it was as a soloist that Jack will be readily remembered by audiences and fellow choristers alike. His rich bass-baritone voice, especially his moving rendition of “Working Man” – a tribute to the harsh lives of coal miners - frequently brought standing ovations from audiences.
The choir was delighted to journey to the marvellous
art déco Plaza Theatre, Kyabram for a Sunday afternoon concert.
Supported by Campaspe Shire Council, it was a fundraiser for the local
school chaplaincy program and was partly organised by two of our Bendigo
chapter choristers – Ivan Ryall and Ken McMullan.
After our opening number What Would I Do Without My Music, Bendigonian baritone Ken Simpson led the choir into a Welsh medley comprising We’ll Keep a Welcome, Hymns and Arias (a teaser for what was to come), Calon Lân, Sospan Fach and Cwm Rhondda, with the audience eager to join in with the final Bread of Heaven chorus.
Ambrose Morgan then took them on a wonderful peripatetic journey around
Australia with his mythical but hapless Welsh rugby fans in his very
humorous version of Hymns and Arias. Not to be out-trumped, compère
Tony Davies told a fake news story purporting to explain why we had
given up our white shirts in favour of black as well as shortening our
red ties.
The second bracket was also unashamedly Welsh – the patriotic O Gymru, Anfonaf Angel with very fine flute accompaniment by Nigel McGuckian, the lullaby Si Hei Lwli ‘Mabi and a new song Y Tangnefeddwyr (The Peacemakers) with two explanatory English verses.
Baritone Roger Bartlett stepped forward to tug at everybody’s heartstrings with the marvellous Homeward Bound. With the choir backing him, he smoothly moved into Amazing Grace before bass Graeme Sanderson gave a brief introduction before soloing on the emotional Working Man to sustained applause. Nigel then took up his piccolo for the choir’s rousing Battle Hymn of the Republic.
Pre-warned and pre-warmed, the musically appreciative and talented
audience was keen to make its singing mark with the final chorus. They
were so good that Faleiry had them repeat it, which also gave patrons on
the left-hand side a second opportunity to marvel at the technical
wizardry of our accompanist Lorna Ogilvie.
With an outside temperature of 33C and something approaching that on the
stage, under powerful lighting, choristers and audience were both happy
to adjourn for air and drinks for twenty minutes.
Back we came to the popular Men of Harlech, sung in Welsh then
English complete with serious Welsh flag waving by Gareth Jones, one of
two of our Ballarat choristers on stage.
The choir’s commissioned work Land of my Song came next with sensitive
solos by Bendigo men John Adams and Garry Salisbury. This stunning work
was followed by the composer’s very famous and popular Pemulwuy.
Linking up with the nostalgia themes of Homeward Bound and Land of my Song, bass-baritone Bob Ash next carried the audience into very emotional and patriotic territory with Eric Bogle’s Shelter, to much acclaim.
Roger Bartlett came to the music stand again to join the choir in the superb and emotional roller-coaster Les Misérables medley, soloing on I Dreamed a Dream and Bring Him Home to great effect.
After extended applause, local organiser Christine Anderson took the microphone to thank all concerned, especially the choir, Faleiry and Lorna. Having been on a joint musical journey throughout the afternoon, we sortied from France back to Australia for the very special arrangement of Waltzing Matilda, with duettists Graeme Sanderson and Drew Hopkins, culminating in the simultaneous singing of the English chorus against the Welsh National Anthem.
On a very warm and humid night, we assembled at St Peter’s to present a
fundraising concert for the nearby Lyceum Club, whose lady members and
their guests filled the church for a wide-ranging program. The full
choir also included members from our Bendigo and Ballarat chapters.
What Would I Do Without My Music was melodically firmly answered before singing two Welsh favourites – Gwahoddiad and the more modern patriotic O Gymru. Bass Bob Ash then led the choir in the heavily emotional Working Man.
Multi-talented compère Stephen Pepper, a native Welsh speaker, next
humorously engaged all the patrons in some educational audience
participation, learning how to pronounce probably the longest word in
the ‘language of heaven’.
Proving that a large male choir can not only sing without music but also
without accompaniment, we sang a traditional Welsh lullaby before
baritone Roger Bartlett led us fearlessly in You’ll Never Walk Alone. Thus fortified, the choir gave only our second public performance of the beautiful Y Tangnefeddwyr (The Peacemakers).
Two more talented soloists from the choir – tenors Rushan Hewawasam and
Drew Hopkins - then stepped forward to beguile the musically
appreciative audience with the beautiful Perhaps Love.
This led into the closing bracket of two Paul Jarman compositions. Land of my Song, which
we commissioned from Paul, giving its world premiere only 12 days
earlier, was now given its second public performance, with sensitive
solos by Bob Ash and tenor Geoff Roberts, to great acclaim, followed by
the confronting Pemulwuy.
During interval, someone must have wondered if the very popular Cwm Rhondda
would get an airing so our ever-flexible Musical Director started the
second half with an impromptu rendition, ‘but only if the audience sings
as well’. Fortunately, they were only too ready to join in which led
nicely into a bracket of Celtic numbers. Tenor Ed Hughes caught the
pathos in Danny Boy and bass Barry McMahon spiced up the harvesting of Wild Mountain Thyme. The famous and ever-popular Men of Harlech was then lustily sung in Welsh and English.
Switching the tone from a besieged army to a besieged wife, bass Geoff
Serpell and tenor John Hales added a bit of costume to sing the famous
humorous duet Ah Still Suits Me from the musical Showboat.
The finale comprised the impressive and dramatic medley arrangement from Les Misérables, including fine solos from Rushan and Roger.
After the applause had died down, everybody rose to sing the Welsh National Anthem (Hen Wlad Fy Nhadau)
with the addition of a 92-year-old Welshman, who just happened to be in
the front row and who also knew the words. It was a lovely moment for
him and his family and a fitting end to a marvellous concert.
After gesturing for patrons to sit down again, the choir left the stage
to fill all the aisles before bidding everybody a very warm goodnight
with the haunting Sunset Poem.
Excelsis choir sang Benedictus, Geelong Welsh Ladies performed For the Beauty of the Earth and the three male choirs sang Gwahoddiad.
All choirs combined on Brenin Seion.
In between the choirs led the congregation's singing of ten classic
Welsh hymns, each sung lustily in Welsh and English, and a good time was
had by all.
"Congratulations and thank you. The choir and its guests performed
admirably. The performance of Land of my Song will live with me for a
very long time."
"I’m Welsh and I enjoy Welsh hymns and songs and adore
the Amens! I was also very impressed by the broadening items of Co-cheòl
& Ladies' choir. The whole concert was an absolute joy."
"We loved
Paul Jarman’s work!"
"Great atmosphere before, during and after the
show!"
"Fantastic concert. Really enjoyed every minute."
"A truly
wonderful concert."
"I particularly enjoyed Rushan singing with
Co-cheòl."
"Very talented and enjoyable. Solid, varied and interesting
performance by the VWC with many moments of special harmony."
"A
wonderful performance by all and the MRC was the perfect place."
"Great show!"
Despite the fickle Melbourne summer weather, 900 patrons filled the
Elisabeth Murdoch Hall for our annual St David’s Day Welsh Celtic
Celebration concert.
The lights came up to reveal the full choir, Musical Director Faleiry
Koczkar and accompanist Lorna Ogilvie in the opening unashamedly
patriotic song O Gymru. As the heartfelt applause
subsided, masterful compère Drew Hopkins informed the audience that the
entire concert was to be recorded so similar thunderous applause was
required after every number this afternoon! The choir’s marvellous
four-part harmonies continued with other Welsh favourites Blaenwern, Gwahoddiad and Aberystwyth, all described in very informative notes in the accompanying eight-page program.
The folk quartet Co-cheòl then delighted the audience with their beautiful renditions of Siuil a Ruin, An Ghealog, To the Weavers Gin Ye Go and My Last Farewell to Stirling where they were joined by our second tenor Rushan Hewawasam, providing a wonderful fifth voice to the harmonies.
The choir then rose to surround Faleiry to sing the a capella lullaby Si Hei Lwli ‘Mabi.
Any babies in the hall having been safely sent off to sleep, we were
joined on stage by Geelong Welsh Ladies Choir, to combine on the
uplifting Yr Utgorn (The Trumpet) complete with trumpet played by sixteen-year-old Gemma Webb, to great acclaim.
Musical Director Jeanette John then stepped up to the podium to conduct
Geelong Ladies, accompanied by Selmo Carreira, on the well-known tune You Raise Me Up but this time called Dyrchefir Fi and sung entirely in Welsh.
VicWelsh then joined the ladies on a popular Welsh medley comprising Hymns An’ Arias, Calon Lân, Sospan Fach, Cwm Rhondda and the old Tom Jones favourite Delilah.
This was a fitting finale for the first half but also tinged with some
sadness as it marked the last time Jeanette would conduct her beloved
choir, as she was relinquishing that role after 19 years. VicWelsh
President Tony Davies stepped forward to present Jeanette with an
engraved glass memento of the occasion which she graciously and
emotionally accepted. (Continued below rehearsal photo...)
The hall filled for the second half with a palpable air of excitement as
the highlight of the concert drew near. Paul Jarman, internationally
renowned Australian composer, told the audience how the commission had
come about and how he had incorporated choristers’ writings to help him
connect with the nostalgia for the old country in penning Land of my Song.
Paul strode to the podium and gestured to the choir to stand. Lorna
played the introduction before the whole choir oohed the opening twelve
bars. Soloist baritone Bob Ash confidently set the scene with the first
verse and then the song took off with soaring harmonies as befitted a
Welsh male choir. Soloist tenor Geoff Roberts sweetly came in on the
eighth verse leading into the magnificent final third of the piece with
the climactic repetition of the title bringing this world première to a
resounding triumphant finish. If there had been any apprehension about
how the song would be received, 900 people gave it their wholehearted
approval with wonderful sustained applause.
Suitably relieved and exhilarated, Paul then explained the history
behind his iconic Pemulwuy before conducting the choir in this spirited
song which has been acclaimed by our many audiences at home and abroad.
Co-cheòl came back with their various instruments – flute, accordion and harp – and joined the choir on the Welsh classic Ar Lan Y Môr.
The versatile and gifted quartet then entertained the audience with
glorious harmonies, musicality and cleverly choreographed and precise
body percussion on Refraction, Heyr Himna Smiður, Auld Lang Syne
and an extended Gaelic Set. Combining once again with the choir, they
were joined by multi-instrumentalist Paul Jarman on whistle to perform a
lilting Scottish number La Boum.
Faleiry came back to conduct the choir with the emotional Amazing Grace featuring a finely modulated solo by baritone Roger Bartlett.
Then it was time for another première – not for the world but a first for VicWelsh. With words by Welsh poet Waldo Williams, Y Tangnefeddwyr (The Peacemakers) told the story of the sadness felt by a family of pacifists during the bombing raids on Swansea.
Then it was time for the rousing Men of Harlech and the finale of this remarkable concert with all our guests on the stage or in the stalls with the Welsh National Anthem Hen Wlad Fy Nhadau. As everybody was on their feet it then seemed a good idea to cement Australian-Welsh relations with our version of Waltzing Matilda with most patrons singing the English words of the chorus while the choir reprised the Welsh words of Hen Wlad. A truly joyous finish to a stupendous concert.
Vic Welsh Performances in 2017
In reverse date order
3rd December 2017
So successful was last year’s concert with carols, that we were
delighted to be invited back again to the acoustically blessed 1860
Uniting Church. At that concert Keva Lloyd, a very new Bendigo branch member,
attended his first full concert and here, twelve months on, he is
compèring proceedings for the first time. The Rev. Lindell Gibson
welcomed the choir before we launched into our opening Welsh number Gwŷr Harlech. Then came Y Tangnefeddwyr (The Peacemakers), an a cappella version of Ar Lan Y Môr and the old favourite Morte Criste.
Thanks to the words being projected on to walls at both ends of the church, choristers and audience alike then sang the first carol Silent Night.
Following this, the accompanist was silent during our lullaby Si Hei Lwli ‘Mabi. The Bette Midler classic The Rose came next followed by the inspirational You’ll Never Walk Alone from Carousel.
The choir’s chaplain, the Rev. Tom Morgan, spoke about his grandfather and great-grandfather being gold miners in Buninyong before dedicating Working Man to all miners and leading the choir in this very emotive song. So well-known has this paean become that Faleiry had no trouble inviting the congregation to join in with the final choruses.
With everybody singing together, and very accomplished descants coming from the ladies, the church was further filled with the uplifting carol O Come All Ye Faithful.
Immediately after interval we sang the choir’s specially commissioned work Land of my Song with sensitive solos from baritone John Adams and tenor Geoff Roberts. Keva then gave a very informative and up-to-date introduction to the second Paul Jarman composition, Pemulwuy.
The third carol’s words then appeared with the whole assembly singing Good King Wenceslas with men on the second verse and ladies on the third.
The mood then turned somewhat anti-monarchical as we thundered into the spirited medley from Les Misérables featuring lovely solos on I Dreamed a Dream and Bring Him Home by tenor Rushan Hewawasam.
After the sustained applause had died down, Faleiry encouraged everyone in the church to sing Waltzing Matilda while a section of the choir sang the Welsh National Anthem at the same time. Lindell thanked us again before we came off the stage to surround the audience to sing our heartfelt farewells with Sunset Poem.
It was a marvellous way to finish off this special concert – the choir and the congregation were all in good voice, brought together harmonically on the carols and other tunes, all enhanced by the superb sound that only churches of this age and design can deliver.
Audience comments included:
25th November 2017
The choir was pleased to return to Holy Trinity Church, Maldon for a Sunday afternoon concert on 25 November.
Gwŷr Harlech opened proceedings in a suitably upbeat tone before the enthusiastic congregation joined in singing the English verses.
This was followed by Morte Criste, Y Tangnefeddwyr, Yfory with a delicate flute introduction by Bendigonian Nigel McGuckian and What Would I Do Without My Music.
Versatile compère Stephen Pepper then introduced the educational segment and successfully taught patrons to pronounce the full version of LlanfairPG. Mightily relieved that they could now all get past the pearly gates, the choir brought them back to earth, just beside the sea, in fact, with Ar Lan Y Môr, beautifully sung without accompaniment.
The Bendigo group’s pianist Elizabeth Paton then took her place at the keyboard and sensitively accompanied flautist Nigel as he excelled on Bach’s Sonata in E Minor and then on a more modern tune Sunstreams by Ian Clarke.
Tenor Drew Hopkins then stepped forward to confidently lead the choir in the challenging Diolch I’r Iôr. Heading for the closing song for the first half, Faleiry made sure that the audience knew when to come in at the end of the rousing When the Saints Go Marching In with yet another tour de force by Lorna on the keyboard. This they did splendidly before everyone was happy to take a drinks break on a very warm day.Multi-talented Elizabeth opened the second half by introducing JS Bach’s Prelude and Fugue in E Minor before positioning herself at the Holy Trinity organ. Those choristers sitting in the choir stalls were treated to a close-up display of her dexterity including some very nimble footwork.
Nigel’s flute introduced the next number, the haunting choral arrangement of Gounod’s Sanctus with a very well-modulated solo by tenor Ed Hughes.
Bass Bob Ash introduced the mining segment and masterfully sang an a cappella rendition of A Prince Among Men, followed by Geoff Serpell on the powerful Working Man.
Switching to a love theme, tenor Rushan Hewawasam beautifully caught the romance of Suddenly from Les Mis. This was followed by the lullaby Si Hei Lwli ‘Mabi, The Rose and the heart-tugging You’ll Never Walk Alone.
On a hot and humid day, we were suitably refreshed by Barry McMahon’s stirring Wild Mountain Thyme, Drew’s peripatetic Spanish Lady with castanet accompaniment and the final chorus of Waltzing Matilda with soloists Drew and Geoff, leading to the simultaneous singing of the Welsh National Anthem by some of the choir.
Julia Nutting thanked the choir for a great concert before choristers carefully picked their way through cables and other potential hazards to surround the assembled company with the famous farewell of Sunset Poem from Under Milk Wood.
"Splendid day last Saturday.
"Once again, thank you so much for the lovely afternoon we had on Saturday, and for all you did to make it happen. A memorable occasion; and we admired the way the singers - not to mention the 'bumping party' - seemed unaffected by the heat - most professional.
"Program as inviting as ever and its execution of course impressive - and the exercise does show the church to advantage, with its atmosphere and acoustics. You bring out the best in Holy Trinity! We do appreciate your willingness to come, and look forward to next time!
"And it's particularly good that the day was pleasingly profitable for us as well as enjoyable. Thank you again - please greet the choir members and Faleiry and let them know of our thanks and appreciation. Best wishes, Julia."
19th November 2017
On 19 November, a Sunday afternoon concert was presented at Sackville Grange Retirement Village where chorister Colin Roberts resides with his wife Ann who also worked the sound system on the day.Rushan was then joined by Drew Hopkins on the romantic ballad Perhaps Love and then a change of pace on to the rousing When the Saints Go Marching In with lusty singing from all the pre-rehearsed patrons on the final chorus.
After interval, they had another opportunity to sing on the English verses of Men of Harlech before tenor Gordon Parsons took the mic to sweetly lead the choir All Through the Night. Safely home, Drew and Rushan were back to present the emotional immigrant song Isle of Hope, Isle of Tears.
The choir next sang in the third language for the day with the Anvil Chorus from Il Trovatore complete with stirring anvil work by blacksmith Col Evans. The iconic Working Man was then sung, fittingly, by Tom Morgan whose grandfather had been a gold miner.
What Would I Do Without My Music followed and then it was time for another solo. Tony Hosemans set the scene for The Goodbye Song from Whitehorse Inn and masterfully sang it without accompaniment in the middle of the audience who certainly appreciated the feat.
Drew was up again with the Irish song Spanish Lady. The non-appearance of castanets did not faze fellow tenor Geoff Roberts who improvised marvellously with a pair of dessert spoons from the kitchen.
During the sustained applause Drew had a little time to draw breath before being joined by bass Graeme Sanderson on the modern version of Waltzing Matilda which segues into the Welsh National Anthem. After thanks, choristers walked off to Men of Harlech before reassembling around the room to sing their farewells with Sunset Poem.
The concert was great fun and the very musical audience played their part too, to make a very enjoyable intimate type of concert.
Audience comments included:
I had been before to a concert and this lived up to all my high
expectations.
A good program, excellently presented. The harmonising was
excellent and the humour appropriate. Don
I loved it all - thank you. Nancye
Wonderful Sunday afternoon entertainment - varied program. Look
forward to future concerts. Barbara
Fantastic music, loved joining in Men of Harlech. Lots of laus. Jan
We thoroughly enjoyed the whole atmosphere, and loved the choir and the rendition of the traditional Welsh songs - Keith & Betty
I had a most enjoyable afternoon attending a concert performed by the choir. Kath
5th November 2017
Accompanied by the Royal Australian Navy Band (Bandmaster Chief PO Gabe Kicsak), the choir led the singing with O Valiant Hearts, Abide with Me, O God Our Help in Ages Past and Advance Australia Fair.
13 July 1927 – 29 October 2017
On Friday 3 November, about thirty choristers took part in a service at Kyneton to celebrate the life of our esteemed Bendigo member, George Murphy. Celebrant Barbara Talbot commenced the service by inviting members of the three generations of George’s extensive family to light candles. Daughters Ann and Lynn lit the candle representing the Past, five grandchildren lit the Present and four great-grandchildren lit the Future, although all their instincts then leant towards wanting to blow them all out!
The choir then sang the lullaby Si Hei Lwli ‘Mabi, one of two tunes specifically chosen by George.
Ann and Lynn described his very interesting life in the UK as well as in Australia and spoke lovingly of their father and of his ongoing influence on their lives.
The choir stepped up again to farewell him with the irreverent but beautiful Sunset Poem.
After readings by grandchildren, there was a wonderful photographic presentation of George’s rich and varied life, accompanied by well-known excerpts from his favourite Gilbert and Sullivan operettas, a few of which he had performed in over the years.
Finally, the choir and the congregation combined to sing George’s favourite hymn, Onward Christian Soldiers, before the family accompanied the casket outside to the hearse.
On his very recent trip back to the UK, with Ann and Lynn, they had managed – along with his great great-nephew, a Liverpool supporter - to see his beloved football team Everton beat Bournemouth. Amongst other admirable traits, George was generous enough to choose Pool’s anthem, You’ll Never Walk Alone as his Leaving Song, this time sung by his favourite Welsh bass-baritone, Bryn Terfel.
Bedford Heights, 29th October 2017
It was a pleasure to return to Bedford Heights Retirement Village after two and a half years.
The choir commenced with the old favourite We’ll Keep a Welcome. After a reciprocal welcome from the village representative, we were into the nostalgic Yfory (Tomorrow). Next was Calon Lân;
as this is a favourite of Mick Matthews, ex-President of the choir and
resident of the village, he was invited to join the choir to help us
sing this rousing tune. Needless to say, Mick hadn’t forgotten any of
the words. This was followed by Cwm Rhondda which was the opportunity for all the other patrons to heartily join in with the choruses.
Compère Bob Ash introduced the next bracket – The Rose, You’ll Never Walk Alone (soloist Roger Bartlett), Si Hei Lwli ‘Mabi (soloist Tony Hosemans) and the Rutter arrangement of When the Saints Go Marching In. Faleiry rehearsed the eager audience several times in their final choruses and so the first half came to a joyful and uplifting finish.
The second half started with the famous Men of Harlech followed by All Through the Night with tenor soloist Gordon Parsons. Roger came back on the mellifluous Homeward Bound before a small anvil was manoeuvred on stage by ‘blacksmith’ Col Evans to accompany the choir in the Anvil Chorus, sung in Italian.
Versatile compère Bob was next with a stunning performance of A Prince Among Men. Adding to the mining theme, Tom Morgan told the heartbreaking tale of a Working Man backed up by the choir.
This was followed by John Hales and Geoff Serpell’s first public performance of the witty Agony by Stephen Sondheim from his show Into the Woods.
Hard-working Geoff stayed on stage and was joined by Drew to launch into the modern arrangement of Waltzing Matilda, the final chorus of which found a section of the choir also singing the Welsh National Anthem (Hen Wlad Fy Nhadau) at the same time.
Then it was time for Drew to perform the spirited Spanish Lady with castanets and flamenco by Geoff Roberts and enthusiastic clapping by choir and patrons alike. After the final Olé the choir was thanked by Helen, of the organising committee, and then the choir surrounded the audience to sing its farewells with the haunting Sunset Poem – a beautiful ending to an afternoon’s shared musical journey.
Audience comments included:
With David Hobson
22nd October 2017The choir got off to a traditional rousing start with Gwŷr Harlech (Men of Harlech) before compère Drew Hopkins welcomed the full house and introduced the opening bracket.
The well-known Morte Criste was followed by a modern song Y Tangnefeddwyr (The Peacemakers) before Faleiry stepped away from the podium, closer to the choir, to lead them in a stunning a capella version of the romantic Ar Lan Y Môr. Singing unaccompanied begged the question What Would I Do Without My Music, which was answered very satisfactorily if the audience’s applause was anything to go by.
The star of the show, David Hobson, then strode on to the stage and,
with his inimitable warmth and engaging personality, explained the
operatic context of his opening four songs from his formidable
repertoire. Accompanied by our hugely talented pianist Lorna Ogilvie,
the first two were by Handel - Where’er You Walk and Silent Worship. These were followed by E La Solita Storia Del Pastore from the opera L’arlesiana and Leoncavallo’s Mattinata, first recorded by Caruso in 1904.Switching easily from Italian to Welsh, he then led the choir in singing the lullaby Si Hei Lwli ‘Mabi.
Continuing the opera theme, the choir boldly sang the Soldiers’ Chorus from Gounod’s Faust and then switched into Italian for the Anvil Chorus from Verdi’s Il Trovatore, complete with Col “Blacksmith” Evans on anvil. Linguistic dexterity continued with David leading the choir in the French March of the Toreadors from Bizet’s Carmen with Faleiry encouraging patrons to join in with the chorus. From French/Spanish bull fighters, it was no musical stretch at all for David to grab his guitar to tell the spirited tale of the Spanish Lady roaming around Dublin’s fair city. Choristers (some with castanets) and audience alike had great fun combining on enthusiastic but synchronised clapping right up to the final Olé!
Right after interval, David came on holding a mysterious striped plastic bag. Observing that the choir is made up of men from a remarkable diversity of backgrounds and careers, he proceeded to empty the contents to reveal his personal collection of vintage Jethro Tull LPs and asked our John Evans, ex-keyboard player for that UK group, to step forward and join him. After a bit of banter, David was very pleased to get John to autograph one of his records.
David spoke a little about his own start in a band and, accompanying himself on piano, sang one of his own compositions Tomorrow, Tomorrow.
Gearing up once again with the Welsh language, David’s soaring tenor voice led the choir on Ar Hyd Y Nos (All Through the Night) and on the welcoming song Unwaith Eto’n ‘Nghymru Annwyl (Once Again in Dear Wales) which we had sung with him on last Friday’s ABC 774 radio show The Friday Revue.
Drew explained the background to the two Paul Jarman songs before we emotionally engaged with the wonderfully nostalgic Land of My Song with fine solos by bass Bob Ash and tenor Geoff Roberts. This was followed by the confronting tale of Aboriginal guerrilla fighter Pemulwuy with its war cries and co-ordinated clapstick work from choristers.
David came back on stage to deliver the nationalistic Anthem from Chess followed by the lovely If I Loved You. Referencing another musical, David’s magnificent tones filled the hall with the assertive I Don Quixote from Man of La Mancha. After sustained applause, David nimbly changed continents once again to stride the stage with a suitably dramatic tour de force on Sit Down You’re Rockin’ the Boat, backed up by the choir Guys if not the Dolls.
With this great flourishing finish, the whole theatre gave David a cacophonous and heartfelt acclamation for his star performance this afternoon.
The choir’s finale was the iconic medley from Les Misérables with a lovely sympathetic solo from Rushan Hewawasam on I Dreamed a Dream. The musical’s showcase solo Bring Him Home was exquisitely and sensitively sung by David alone to huge applause. The choir finished with the rousing chorus and David, Rushan and the choir were generously and noisily acknowledged.
There only remained the intricate and clever pairing of the Welsh National Anthem (Hen Wlad Fy Nhadau) with Waltzing Matilda and this epic and wonderfully musical afternoon came to a fitting end.
20th October 2017
Presenters Brian Nankervis and Richelle Hunt invited David Hobson to be a part of their ABC Radio show on Friday 20 October as a lead-in to his big concert with Victoria Welsh Choir at the Melbourne Recital Centre on the 22nd.
Led by Faleiry Koczkar and accompanied by Lorna Ogilvie, about twenty choristers backed David singing Unwaith Eto’n ‘Nghymru Annwyl (Once more in dear Wales), one of the numbers to be performed on Sunday.
The 426-seater purpose-built Union Community Arts Centre was an absolute sell-out, having to turn away people seeking tickets at the door.
The choir opened with the resounding What Would I Do without My Music and then compère Drew Hopkins introduced a bracket of Welsh numbers – Blaenwern, Y Tangnefeddwyr (The Peacemakers), Yfory (Tomorrow) and the well-loved Cwm Rhondda with the whole audience eager and willing to join in with the choruses.
The Newhaven Girls’ Vocal Group, led by Kerryn Lockhart and accompanied by Daniel Moldrich, then came on stage to perform four numbers. A lively arrangement of Sanctus was followed by the beautifully sung Night of Stars, Night of Love by Offenbach. A Place by The River by Melbourne song-writer Eddie Perfect was followed by the upbeat Accentuate the Positive. The precision harmonising and lovely tone was rightly applauded by the whole theatre.
Before the first half’s closing number, Faleiry rehearsed the capacity audience (three times) in the final choruses of the rousing Rutter arrangement of When the Saints Go Marching In. When the time came, the effect was so good everybody had to repeat it before a well-earned interval.
After the break, organiser Graham Wilson and another member of the church thanked everyone for coming and contributing to the cause before introducing composer Larry Hills. Larry spoke of the mining tragedy of 1937 which killed 13 men below ground in a local coal mine. As a memorial to this event, Larry had composed Miners’ Requiem. Although previously performed by a mixed voice choir, today would be the first time by a four-part male choir. Eight choristers (two from each section) chanted the first thirteen bars starting with ‘Requiem aeternam…’. As the whole choir sang the narrative verses describing the disaster, these soloists would interweave with the repeated phrases. The final chorus of the requiem, in four-part harmony, echoing the choirs of South Wales’ mining villages, brought the work to a fittingly sad and bitter-sweet ending, resonating deeply with the local audience.
Continuing the mining theme, bass Bob Ash went forward to deliver for the first time a stunning a capella rendition of A Prince Among Men by Irish musician Andy Irvine. As the sustained applause died, fellow bass Barry McMahon, backed by the choir, told the moving tale of another miner in the well-known song Working Man, again to prolonged acclamation.
Then it was time for another local to perform. Joshua Hooke seated himself at the piano and treated the whole theatre to a hugely confident and masterful recital of three movements from Mussorgsky’s Pictures at an Exhibition. Compère Drew very appropriately brought Joshua back on stage to acknowledge the audience’s loud appreciation.
From Russia with love back to Wales with the choir’s specially commissioned work Land of my Song by Paul Jarman. This heartfelt song of nostalgia for the old country featured strong solos by Bendigonians John Adams and Garry Salisbury. Paul’s contrasting but iconic Pemulwuy followed before John Hales and Geoff Serpell combined in a comic sketch with Ah Still Suits Me from the 1936 film version of Show Boat.
For the concert’s finale, Mississippi gave way to the Les Misérables medley featuring touching solos by Rushan on I Dreamed a Dream and by Roger on Bring Him Home.
After the final flag and the theatre’s rapturous applause, there only remained one more number to close – Waltzing Matilda sung by half the choir and the audience against the Welsh National Anthem Hen Wlad Fy Nhadau.
Comments received from the audience included:
The choir was invited to lead the singing at evensong at St Peter's. We did this from the organ loft, hardly visible to the congregation. The conducting was shared between Rhys Arvidson, the church's organist and our own Faleiry Koczkar.
The service commenced with the choir singing, as the Introit, the traditional Welsh lullaby Si Hei Lwli ‘Mabi. We then joined Father Hugh Kempster for Preces and Responses, and led the singing of Psalm 145, followed by the Office Hymn, the Welsh favourite, Cwm Rhondda, sung in English as Guide Me, O thou Great Redeemer.
The well known cartoonist Michael Leunig delivered the address. This was followed by the choir’s last piece, Sunset Poem from Dylan Thomas’ Under Milk Wood, sung to Troyte’s Chant. Then followed congregational singing of Bryn Calfaria and Hyfrydol, and the final Benediction and psalm.
Following the service, wine and cheese was served in the adjacent hall, and chorister Roger Bartlett entertained those present by leading an impromptu version of Calon Lân.
Afterwards Faleiry received the following message from the Vicar, Father Hugh Kempster:
"Dear Fal, Diolch yn fawr! It was such a joyful evening, from the formalities in church to the spontaneous singing over supper. Please pass on my sincere thanks to all those who sang; we were blessed! Warmest regards, Hugh."
Applewood Retirement Village, 17th September 2017
The choir was pleased to present a short concert at the magnificently appointed Applewood Retirement Village. With all seats sold, the audience eagerly anticipated the opening number which was the rhetorical What Would I Do Without My Music.
Compère Bob Ash introduced the music team and gave information about the three next songs. The choir launched into the well-known Morte Criste, the lovelorn Welsh tune Yfory (Tomorrow) and then bass Geoff Serpell took up the cause of the Working Man in a splendid solo performance, aided by the choir and many audience members.
Next up was bass-baritone Roger Bartlett who showcased his amazing vocal range on Let Me Fall.
Speed Your Journey or the Chorus of the Hebrew Slaves from Nabucco was next before a master class of singing and comic timing from tenor John Hales and bass Geoff Serpell with Ah Still Suits Me from the 1936 musical Show Boat.
In an impromptu step away from the program, Faleiry wondered how many patrons had heard Welsh actor Owen Teale sing Calon Lân (A Pure Heart) in the recent ABC series Pulse. After a moment’s hesitation from accompanist and choir alike, we sang the first verse and chorus of this iconic Welsh tune.
Then it was into the dramatic finale with the Les Mis medley with marvellous solos from Roger Bartlett and Rushan.
To end on a Welsh-Australian, we sang the final choruses of Waltzing Matilda with the Welsh National Anthem overlaid by half the choir.
We left the stage to the strains of Men of Harlech before surrounding the very appreciative audience and singing our farewells with Sunset Poem.
Audience feedback included:
As the lights came up the choir was revealed to sing their opening number What Would I Do Without My Music. Compère Drew Hopkins then welcomed the capacity audience before local member Nigel McGuckian spoke in the local language as an acknowledgment to country which translated as ‘I honour the wisdom of the Dja Dja Wurrung. We will speak words of truth and listen to your wisdom.’
Faleiry led the choir, accompanied by our legendary pianist Lorna Ogilvie, in an opening Welsh bracket of Blaenwern, Y Tangnefeddwyr (The Peacemakers), Yfory (Tomorrow) with a haunting flute solo by Nigel and the well-known Cwm Rhondda with patrons eagerly joining in with the final Songs of Praises chorus.
Then the star of the concert came on stage, opening with the iconic You Raise Me Up before a change of pace with a beautifully modulated Memories from Cats. With her accompanist, the musical polymath David Cameron, Silvie then showcased her extraordinary range in a Rodgers and Hart medley. Love was in the air and the whole theatre fell under Silvie’s spell.
Silvie then stayed on stage to lead the choir in the rousing You’ll Never Walk Alone before exiting to more sustained applause.
Lovelorn choristers next launched into a sensitive rendition of The Rose which led into the special arrangement of When the Saints Go Marching In topped by the pre-rehearsed audience lustily singing (and repeating) the final choruses.
After interval, Terry Dalwood from Rotary spoke feelingly about Peter Ryall’s crucial role in helping to organise the initial concert two years ago. His cousin Keith said Peter’s suicide had touched many but his estate had now donated $30,000 to Lifeline through Terry. Terry then introduced two benefactors of Rotary scholarships for Bendigo Senior Secondary School students. The 2015 winner Aidan Purdy brilliantly showed the amazing versatility of the tuba in a very modern piece entitled Sonate en 6 minutes 30 by Claude Pascal.
He was followed by the 2016 winner soprano Deanna Jerman in another modern number I’ll Be Here from the musical Ordinary Days. Her bravura performance of this technically challenging and bitter-sweet song was justly rewarded by heartfelt applause.
Then it was time for the Bendigo branch of the choir to come on stage and surround their talented accompanist Liz Paton (she is also the choir’s organist) on the 1935 Cole Porter classic Begin the Beguine complete with some spirited, but very cool, percussion by some of the group.
Compère Drew followed this by mentioning that Peter Ryall’s estate had also donated a portable piano to the group to be used in their rehearsal spaces. Although an established and thriving chapter, they are always looking for new members.
Silvie re-entered to light up the stage again to sing the very appropriate What the World Needs Now. Having established there were at least a few people with Italian background in the stalls, Silvie thrilled the theatre with the well-known aria Non Ti Scordar Di Me.She then invited everyone to sing along with her on It’s a Wonderful World – and patrons and choristers alike were happy to do so. Then on to the Dalla masterpiece Caruso, full of passion and love and superb singing which gave everybody goose bumps, such was its vocal and emotive power.
Multilingual Silvie then added Welsh to her repertoire with her pure soprano voice on the first verse of the a capella lullaby Si Hei Lwli ‘Mabi which the choir, after an imperceptible change of key, completed.
Drew gave the background for the next two Paul Jarman songs, the first of which was specially commissioned by VicWelsh. Bendigonians John Adams and Garry Salisbury skilfully and confidently made their voices reverberate throughout the auditorium in Land of my Song. This was followed by the iconic and contrasting Pemulwuy.
Back came Silvie to reprise her career-defining roles in the medley from Les Misérables. Sung with power and precision, she captivated the audience and tugged at the heartstrings on the hugely emotional On My Own. Roger Bartlett’s rich baritone voice added to the pathos with the sensitively delivered Bring Him Home.
The medley and Silvie simply electrified the theatre and the climax elicited thunderous applause.
As that died down, the choir took up the well-known refrain from Waltzing Matilda which then morphed into Silvie and the audience singing the English words and Faleiry and half the choir singing the Welsh national anthem Hen Wlad Fy Nhadau.
It was a very fitting finale to the wonderful musical experience that everyone had participated in, blessed by the superb acoustics of the architectural triumph which is Ulumbarra Theatre.
Post-concert comments included:
Ballarat Open Rehearsal
12th August 2017
Choristers from Blackburn and Bendigo joined colleagues in the Ballarat branch at the open rehearsal. The combined choir of 25 voices, led by Faleiry and accompanied by Lorna, ran through half a dozen songs which gave local members particularly the full effect of singing in four-part harmony. It was gratifying that two members took the opportunity to have their second voice tests and it is hoped that the small number of visitors will become members of this fledging but very keen group. If you are interested in joining please call John White on 0402 808 299.
Mornington
Parkhill Gardens, 20th June 2017
In March 2016 our small choir was hired to sing at Nancy Harradine’s 100th birthday at Parkhill Gardens Aged Care Facility, a splendid occasion for Nancy and her family and for the other residents. Since then she has unfortunately died and left specific instructions that she did not want a funeral service. As her daughter-in-law explained, the family realised that many of Nancy’s fellow residents had felt the lack of an opportunity to pay their respects to their friend so we were invited back to present another mini-concert to both celebrate and farewell this remarkable centenarian.
The choir took a rest while bass-baritone Roger Bartlett entranced patrons with the beautiful Homeward Bound. The Rose came next and then You’ll Never Walk Alone which spontaneously prompted many to sing along with the choir. In contrast, the choir then ‘cwtched up’ to sing the lilting Myfanwy, Nancy’s favourite Welsh song, without accompaniment.
Next up was Geoff Serpell with a masterly rendition of Working Man before Roger showcased his fine upper range with Maria from West Side Story.
Back the choir came for the final bracket – a singalong with all the patrons who had been issued with printed songsheets. Men of Harlech was followed by Cockles and Mussels, Loch Lomon’ and Auld Lang Syne with the marvellous sight of residents linking arms and swaying to the music.
We finished with our version of Waltzing Matilda combined with Hen Wlad Fy Nhadau.
After sustained applause and thanks, we were invited for afternoon tea which also provided choristers with an opportunity to mingle and talk to the residents. It was heartening to hear very positive comments as to our performance and to feel that we had been an integral part of saying goodbye to Nancy.
Portarlington, 10th and 11th June 2017
We were delighted to be back at the Festival again and were scheduled for two concerts and a workshop over two days.Despite a foggy morning across the peninsula and an early start, a very large crowd was eager to be seated and ready for the only choral event at the Festival.
After the traditional We’ll Keep a Welcome, we launched into our specially commissioned work Land of my Song with exemplary solos by bass Bob Ash and tenor Geoff Roberts. This was followed by the nationalistic O Gymru and Cwm Rhondda, at the end of which the audience was ready and very able to join in with the final chorus of Songs of Praises.
After exercising their voices, they were happy to listen to Roger Bartlett superbly channelling the weather with “In the quiet misty morning When the moon has gone to bed” as the lilting start to Homeward Bound.
Affirming the obvious, next was What Would I Do Without My Music before bass Geoff Serpell touched everyone’s hearts with the iconic Working Man. When the well-earned applause had died down, the choir went into the popular Gwŷr Harlech march tune with some knowledgeable patrons singing along.
Bob came back to the microphone to tip his hat to another Festival performer Eric Bogle with a marvellously sensitive rendition of Shelter.
A change of pace then with Speed Your Journey and then total deceleration into the unaccompanied Myfanwy.
Showcasing further the choir’s talented group of choristers, Geoff once again stepped forward to join with tenor John Hales, suitably frocked up, to very humorously perform the duet Ah Still Suits Me from Showboat.
As a finale, the choir became animated revolutionaries in the Les Mis medley with very fine solos from Rushan Hewawasam and Roger Bartlett.
By the resounding applause, the audience would have been happy for us to continue but our hour was quickly up.
Compèring duties were shared by Tony Davies, Stephen Pepper and Bob Ash.
Comments included:
Harmony Workshop at St John’s Church 1.00-2.00 pm Sunday
Having set up a screen and a projector linked to a computer, we were joined by about twenty-five participants which nicely balanced the number of choristers. Faleiry’s extensive teaching experience came to the fore as she quickly established the not inconsiderable musical nous of the visitors. With nimble work on the keyboard by our equally experienced educator Lorna, we were all put through the rudiments of building up chords, note by note, with examples taken from Canon in D, The Rose, Working Man (Bob Ash), culminating in the very appropriate Sunset Poem. The hour went very quickly and much was achieved in that short time.
Comments included:
Concert at St Patrick’s Church 5.00-6.00 pm Sunday
A smaller venue than Parks Hall but the acoustics were better and, being away from the main festivities, we were not troubled by extraneous and competing sounds.
Compère Tony Davies introduced the first bracket of We’ll Keep a Welcome, O Gymru and Cwm Rhondda, again with audience participation, followed by What Would I Do Without My Music.
Alex van Mens then came to the front and brought his rich baritone voice to perform the popular Welsh tune Dafydd Y Garreg Wen.
Second compère Stephen Pepper took over the mike to give the audience a lesson in Welsh pronunciation using the well-known LlanfairPG village name. Education mixed with humour was a great hit with the assembled company as affirmed by the prolonged applause.
Equally well-received was the next number, Working Man, this time magnificently led by Bob Ash. The choir then stood and delivered Gwŷr Harlech before ceding the stage to Roger Bartlett with his well-honed Homeward Bound.
With the allotted concert time rapidly eroding, the choir nonetheless kept perfect time on Speed Your Journey before proving, once again, we could sing without music and accompaniment with Myfanwy. However, there was no time to linger over lost love as we quickly coalesced into the impoverished mob in the Les Mis medley with heart-wrenching solos from Rushan and Roger.
The pent-up emotion and the thrilling words made their musical mark on the marvellous audience with several leaping to their feet and leading the sustained applause. As our final appearance at the Festival, we finished off with the equally stirring Welsh National Anthem, Mae Hen Wlad Fy Nhadau. The audience didn’t want to leave and neither did we so we smartly stepped down from the stage to surround them all and to give our thanks to them with the beautiful parting words of Sunset Poem.
Comments included:
The Gathering in the main area beside Parks Hall 6.30 pm Sunday
We had thought that was our last farewell but we were invited to go down the hill to join the procession from the Rotunda to the tent area where we were asked to once again sing our farewells with Sunset Poem. It was a lovely and fitting moment, to say our last goodbyes to so many of the marvellously musical Festival patrons.
From the Valleys to the Hills was the name of our Sunday afternoon concert at the very well-appointed Burrinja Theatre in Upwey. After the introductory number What Would I Do Without My Music, compère Tony Davies made the point that Victoria Welsh Choir not only performs all over the state but our choristers come from as far north as Echuca and as far south as Mt Martha. The choir’s very active Bendigo branch was well-represented and we even had one member who had journeyed from our fledgling Ballarat outpost by train.
The patriotic O Gymru was followed by the iconic Working Man, introduced and energetically sung by bass Geoff Serpell, to much acclaim. Blaenwern (Love Divine) was next before the popular Cwm Rhondda. Faleiry coaxed the audience into joining in with the choruses, which they were happy and eager to do.
Our guest artists, the nine-piece Skylarks (the resident house band at the centre) then showcased to the patrons and the choir, their musical diversity with precision playing on Come to Mama, Nature Boy, Old-fashioned Morphine and Get Up, Stand Up, fronted by silky vocalists Snowy and Neesy.
The next choral bracket started with Speed Your Journey from Nabucco and then I’se Weary of Waitin’ with a solo by Bob Ash, drawing on his impressive bass-baritone range. The choir’s own commissioned work Land of my Song featured soloists John Adams from Bendigo and local Upwey chorister Geoff Roberts, who had been instrumental in much of the organisation of the concert. Paul Jarman’s famous but difficult work Pemulwuy was then sung with heartfelt gusto by the choir to finish off the first half.
After interval, the choir launched straight into Men of Harlech in Welsh before the audience joined in once again with the English words printed in the program.
To start off what was loosely described as a British medley, tenor Ed Hughes first pulled at our heartstrings with Danny Boy before Barry McMahon confidently asked us to help him pull up Wild Mountain Thyme. After all that exertion, it was time to put the baby to sleep with the a capella Si Hei Lwli ‘Mabi. Then it was time to wake up again with the very lively Britten arrangement of Oliver Cromwell, with the slightly uncharitable and cheeky exhortation to the audience to ‘Sing it yourself!’
The Skylarks (ehedyddion in Welsh) came back for their second bracket and livened up proceedings even more with Jeepers Creepers, Stronger than Me, All About That Bass and the nostalgic Love Potion No. 9, all featuring strong solos by individual musicians.
As the finale, the choir reactivated the Paris Uprising of 1832 with a medley from Les Misérables, featuring sensitive solos from Rushan Hewawasam and Roger Bartlett. As the final words rang out and the red revolutionary flag was waved, there was huge applause from the whole audience. After taking our bows we marched off to Men of Harlech while executing some nimble pincer movements so that first tenors and basses lined up to one side of the audience with the other two sections on the opposite side, to sing our Sunset Poem as a fond farewell. The afternoon’s musical journey was complete.
After the show, in The Skylarks Lounge, where the band had just racked up 12 months, the choir was pleased to sing Penblwydd Hapus (Happy Birthday) to them in Welsh.
We were delighted to be hosted by the Ballarat Uniting Church for the
fifth time in ten years to sing in the soaring acoustics of the Lydiard
Street Church.
Tenor Gordon Parsons gently set the Welsh tone on We’ll Keep a Welcome. This was followed by the patriotic O Gymru, the classic Blaenwern and the old favourite Cwm Rhondda.
Ambrose Morgan had the congregation chortling at the imagined
frustrations of a group of Welsh rugby visitors, with patrons happy to
join in with the choruses of Hymns and Arias.
Then a more serious bracket with Ed Hughes transcendently leading the choir in Latin on Gounod's setting of the ancient hymn Sanctus. Y Tangnefeddwyr (The Peacemakers)
was next, exploring the anguish of the poet’s pacifist parents when
their hometown Swansea was bombed in WWII. Equally tender was the
choir’s rendition of The Rose, as well as You’ll Never Walk Alone
from Carousel, but, as compère Bob Ash quipped, the latter was also a
song which had been very successfully adopted by Liverpool Football
Club. Next, bass-baritone Roger Bartlett stepped up to the microphone
to set the scene and to showcase his impressive vocal range on Let Me Fall, from Cirque du Soleil.
The last bracket before interval had the common topic of slavery with Speed Your Journey and Battle Hymn of the Republic
with very committed audience participation on the final chorus. It was
so good everyone had to do it again before a well-earned rest.
The second half started with the stentorian Men of Harlech,
sung in Welsh by the choir and then in English with the enthusiastic
audience joining in with the help of the words in the program. The
choir’s own stupendous commissioned work Land of my Song by
Paul Jarman came next with outstanding solos by Bob Ash and Geoff
Roberts. This was followed by another Jarman favourite, the vocally
challenging Pemulwuy.
Versatile and hard-working Bob then echoed what many expatriates feel about their adopted country with a finely modulated Shelter by Eric Bogle. The old favourite Amazing Grace followed, before a Welsh love song Yfory (Tomorrow) and then the marvellously emotive Working Man with fine soloist Geoff Serpell.
Another of the choir’s talented soloists Roger Bartlett retook the stage with the winsome Homeward Bound and then the choir fired up for the finale with four famous operatic choruses: Soldiers’ Chorus from Gounod's Faust preceded The March of the Toreadors from Bizet's Carmen (in
French) with a spirited solo by Barry McMahon. Then the choir showed
its linguistic versatility by launching into the fifth different
language of the afternoon – this time Italian in the Anvil Chorus from Il Trovatore complete with anvil-bashing (to time of course) by Col Evans. Then it was back to English for the challenging Pilgrims’ Chorus from Tannhäuser.
After sustained applause for a terrific concert, the choir came down to the tune of Men of Harlech before taking up position to sing their farewells to the assembled company with the haunting words of Sunset Poem.
The choir journeyed down the Great Ocean Road on 7 May for a Sunday afternoon concert at the Community Hall, to raise funds for the local Red Cross.
The show’s opener was What Would I Do Without My Music before a Welsh medley of We’ll Keep a Welcome (warmly sung by soloist Barry McMahon), Hymns and Arias, Calon Lân, Sospan Bach and Cwm Rhondda with the very musical audience happy to join in on the last chorus. Ambrose Morgan then told the humorous tale of an unlucky band of Welsh rugby supporters, to great acclaim. We don’t think they ever did make it to Warrnambool, to see whales play!
In our love bracket, patrons were treated to The Rose, You’ll Never Walk Alone, Si Hei Lwli ‘Mabi and the poignant Y Tangnefeddwyr (The Peacemakers).
Bass-baritone Roger Bartlett next stepped up to showcase his powerful vocal range with a solo performance of Let Me Fall, from Cirque du Soleil’s 20th anniversary show.
Picking ourselves up, the choir launched into Speed Your Journey and then finished the first half with Battle Hymn of The Republic, complete with lovely piccolo accompaniment by Nigel McGuckian and lusty audience participation in the final chorus. Lucky patrons near the piano were able to see close up, on both these demanding numbers, the flying fingers of our wonderful accompanist Lorna Ogilvie.
After an intake of ozone, we came back as the beleaguered Men of Harlech with the audience keen to once again join in with the English verse.
Versatile compère Drew Hopkins then described how the choir had commissioned Paul Jarman to write Land of My Song, using choristers’ own writings as inspiration, before the choir sang this very special work, with sensitive solos by Bob Ash and tenor Geoff Roberts. This was followed by the stirring tale of an Aboriginal guerrilla fighter, Pemulwuy, also composed by Paul.
From open warfare to domestic upset was next with seasoned performers, tenor John Hales and bass Geoff Serpell, marvellously combining on the very funny Ah Still Suits Me from the musical Showboat. Then we were on to more serious matters with the much-loved medley from Les Misérables, featuring the choir and solos by Roger. After sustained applause, we then presented a special arrangement of Waltzing Matilda sung by the choir and marvellous duettists Drew and Graeme Sanderson.
After an official thank you by the Red Cross’s President, we came off-stage to surround the audience and say our goodbyes with the haunting Sunset Poem.
The official memorial service for Jack Clarke was held at Queen’s
College in Melbourne on 7 April 2017. A large number of relatives,
friends and former colleagues were welcomed by the present Master, Dr
Stewart Gill.
Jack’s beloved choir, led by longtime friend Faleiry Koczkar and
accompanied by Lorna Ogilvie, opened proceedings with two hymns,
specifically chosen by him – Morte Criste and Gwahoddiad.
Heartfelt reflections, leavened by humour and wit, were delivered in
some style by Kate Kerr, Jack’s younger daughter and by past student
David Lawrence. Everybody in the hall could agree with the sentiments
expressed – pure respect and admiration for Jack with his legendary
compassion, fairness, humanity, love of family and, overall, simply for
his intrinsic goodness.
Former colleague Associate Professor Ronald Farren-Price played the
Adagio from Beethoven’s Sonata Pathetique Opus 13 before the Rev.
Professor Robert Gribben led the gathering in prayers.
Fittingly, the exit music was a recording of Vivaldi’s Gloria, performed by Queen’s College Chapel Choir in 1967, conducted by Jack’s beloved widow Elaine.
Of course, Elaine was for many years also an accompanist for Victoria
Welsh Choir and gave many years of devoted service to the choir, along
with Jack.
The choir’s Vice-President Drew Hopkins crafted the following words for the Memorial Service booklet:
Jack joined the Victoria Welsh Choir in April 1994, and, as both an administrator and a chorister, made a huge contribution to its success. Jack was at various times the choir’s marketing manager, a management committee member and the choir’s President, and was made a life member of the choir in recognition of his outstanding service. Typically, all these functions were carried out competently, with charm and grace, and with a nuanced understanding of people’s behaviour and needs. But it was as a soloist that Jack will be readily remembered by audiences and fellow choristers alike. His rich bass-baritone voice, especially his moving rendition of “Working Man” – a tribute to the harsh lives of coal miners - frequently brought standing ovations from audiences.
The choir was delighted to journey to the marvellous
art déco Plaza Theatre, Kyabram for a Sunday afternoon concert.
Supported by Campaspe Shire Council, it was a fundraiser for the local
school chaplaincy program and was partly organised by two of our Bendigo
chapter choristers – Ivan Ryall and Ken McMullan.
After our opening number What Would I Do Without My Music, Bendigonian baritone Ken Simpson led the choir into a Welsh medley comprising We’ll Keep a Welcome, Hymns and Arias (a teaser for what was to come), Calon Lân, Sospan Fach and Cwm Rhondda, with the audience eager to join in with the final Bread of Heaven chorus.
Ambrose Morgan then took them on a wonderful peripatetic journey around
Australia with his mythical but hapless Welsh rugby fans in his very
humorous version of Hymns and Arias. Not to be out-trumped, compère
Tony Davies told a fake news story purporting to explain why we had
given up our white shirts in favour of black as well as shortening our
red ties.
The second bracket was also unashamedly Welsh – the patriotic O Gymru, Anfonaf Angel with very fine flute accompaniment by Nigel McGuckian, the lullaby Si Hei Lwli ‘Mabi and a new song Y Tangnefeddwyr (The Peacemakers) with two explanatory English verses.
Baritone Roger Bartlett stepped forward to tug at everybody’s heartstrings with the marvellous Homeward Bound. With the choir backing him, he smoothly moved into Amazing Grace before bass Graeme Sanderson gave a brief introduction before soloing on the emotional Working Man to sustained applause. Nigel then took up his piccolo for the choir’s rousing Battle Hymn of the Republic.
Pre-warned and pre-warmed, the musically appreciative and talented
audience was keen to make its singing mark with the final chorus. They
were so good that Faleiry had them repeat it, which also gave patrons on
the left-hand side a second opportunity to marvel at the technical
wizardry of our accompanist Lorna Ogilvie.
With an outside temperature of 33C and something approaching that on the
stage, under powerful lighting, choristers and audience were both happy
to adjourn for air and drinks for twenty minutes.
Back we came to the popular Men of Harlech, sung in Welsh then
English complete with serious Welsh flag waving by Gareth Jones, one of
two of our Ballarat choristers on stage.
The choir’s commissioned work Land of my Song came next with sensitive
solos by Bendigo men John Adams and Garry Salisbury. This stunning work
was followed by the composer’s very famous and popular Pemulwuy.
Linking up with the nostalgia themes of Homeward Bound and Land of my Song, bass-baritone Bob Ash next carried the audience into very emotional and patriotic territory with Eric Bogle’s Shelter, to much acclaim.
Roger Bartlett came to the music stand again to join the choir in the superb and emotional roller-coaster Les Misérables medley, soloing on I Dreamed a Dream and Bring Him Home to great effect.
After extended applause, local organiser Christine Anderson took the microphone to thank all concerned, especially the choir, Faleiry and Lorna. Having been on a joint musical journey throughout the afternoon, we sortied from France back to Australia for the very special arrangement of Waltzing Matilda, with duettists Graeme Sanderson and Drew Hopkins, culminating in the simultaneous singing of the English chorus against the Welsh National Anthem.
On a very warm and humid night, we assembled at St Peter’s to present a
fundraising concert for the nearby Lyceum Club, whose lady members and
their guests filled the church for a wide-ranging program. The full
choir also included members from our Bendigo and Ballarat chapters.
What Would I Do Without My Music was melodically firmly answered before singing two Welsh favourites – Gwahoddiad and the more modern patriotic O Gymru. Bass Bob Ash then led the choir in the heavily emotional Working Man.
Multi-talented compère Stephen Pepper, a native Welsh speaker, next
humorously engaged all the patrons in some educational audience
participation, learning how to pronounce probably the longest word in
the ‘language of heaven’.
Proving that a large male choir can not only sing without music but also
without accompaniment, we sang a traditional Welsh lullaby before
baritone Roger Bartlett led us fearlessly in You’ll Never Walk Alone. Thus fortified, the choir gave only our second public performance of the beautiful Y Tangnefeddwyr (The Peacemakers).
Two more talented soloists from the choir – tenors Rushan Hewawasam and
Drew Hopkins - then stepped forward to beguile the musically
appreciative audience with the beautiful Perhaps Love.
This led into the closing bracket of two Paul Jarman compositions. Land of my Song, which
we commissioned from Paul, giving its world premiere only 12 days
earlier, was now given its second public performance, with sensitive
solos by Bob Ash and tenor Geoff Roberts, to great acclaim, followed by
the confronting Pemulwuy.
During interval, someone must have wondered if the very popular Cwm Rhondda
would get an airing so our ever-flexible Musical Director started the
second half with an impromptu rendition, ‘but only if the audience sings
as well’. Fortunately, they were only too ready to join in which led
nicely into a bracket of Celtic numbers. Tenor Ed Hughes caught the
pathos in Danny Boy and bass Barry McMahon spiced up the harvesting of Wild Mountain Thyme. The famous and ever-popular Men of Harlech was then lustily sung in Welsh and English.
Switching the tone from a besieged army to a besieged wife, bass Geoff
Serpell and tenor John Hales added a bit of costume to sing the famous
humorous duet Ah Still Suits Me from the musical Showboat.
The finale comprised the impressive and dramatic medley arrangement from Les Misérables, including fine solos from Rushan and Roger.
After the applause had died down, everybody rose to sing the Welsh National Anthem (Hen Wlad Fy Nhadau)
with the addition of a 92-year-old Welshman, who just happened to be in
the front row and who also knew the words. It was a lovely moment for
him and his family and a fitting end to a marvellous concert.
After gesturing for patrons to sit down again, the choir left the stage
to fill all the aisles before bidding everybody a very warm goodnight
with the haunting Sunset Poem.
Excelsis choir sang Benedictus, Geelong Welsh Ladies performed For the Beauty of the Earth and the three male choirs sang Gwahoddiad.
All choirs combined on Brenin Seion.
In between the choirs led the congregation's singing of ten classic
Welsh hymns, each sung lustily in Welsh and English, and a good time was
had by all.
"Congratulations and thank you. The choir and its guests performed
admirably. The performance of Land of my Song will live with me for a
very long time."
"I’m Welsh and I enjoy Welsh hymns and songs and adore
the Amens! I was also very impressed by the broadening items of Co-cheòl
& Ladies' choir. The whole concert was an absolute joy."
"We loved
Paul Jarman’s work!"
"Great atmosphere before, during and after the
show!"
"Fantastic concert. Really enjoyed every minute."
"A truly
wonderful concert."
"I particularly enjoyed Rushan singing with
Co-cheòl."
"Very talented and enjoyable. Solid, varied and interesting
performance by the VWC with many moments of special harmony."
"A
wonderful performance by all and the MRC was the perfect place."
"Great show!"
Despite the fickle Melbourne summer weather, 900 patrons filled the
Elisabeth Murdoch Hall for our annual St David’s Day Welsh Celtic
Celebration concert.
The lights came up to reveal the full choir, Musical Director Faleiry
Koczkar and accompanist Lorna Ogilvie in the opening unashamedly
patriotic song O Gymru. As the heartfelt applause
subsided, masterful compère Drew Hopkins informed the audience that the
entire concert was to be recorded so similar thunderous applause was
required after every number this afternoon! The choir’s marvellous
four-part harmonies continued with other Welsh favourites Blaenwern, Gwahoddiad and Aberystwyth, all described in very informative notes in the accompanying eight-page program.
The folk quartet Co-cheòl then delighted the audience with their beautiful renditions of Siuil a Ruin, An Ghealog, To the Weavers Gin Ye Go and My Last Farewell to Stirling where they were joined by our second tenor Rushan Hewawasam, providing a wonderful fifth voice to the harmonies.
The choir then rose to surround Faleiry to sing the a capella lullaby Si Hei Lwli ‘Mabi.
Any babies in the hall having been safely sent off to sleep, we were
joined on stage by Geelong Welsh Ladies Choir, to combine on the
uplifting Yr Utgorn (The Trumpet) complete with trumpet played by sixteen-year-old Gemma Webb, to great acclaim.
Musical Director Jeanette John then stepped up to the podium to conduct
Geelong Ladies, accompanied by Selmo Carreira, on the well-known tune You Raise Me Up but this time called Dyrchefir Fi and sung entirely in Welsh.
VicWelsh then joined the ladies on a popular Welsh medley comprising Hymns An’ Arias, Calon Lân, Sospan Fach, Cwm Rhondda and the old Tom Jones favourite Delilah.
This was a fitting finale for the first half but also tinged with some
sadness as it marked the last time Jeanette would conduct her beloved
choir, as she was relinquishing that role after 19 years. VicWelsh
President Tony Davies stepped forward to present Jeanette with an
engraved glass memento of the occasion which she graciously and
emotionally accepted. (Continued below rehearsal photo...)
The hall filled for the second half with a palpable air of excitement as
the highlight of the concert drew near. Paul Jarman, internationally
renowned Australian composer, told the audience how the commission had
come about and how he had incorporated choristers’ writings to help him
connect with the nostalgia for the old country in penning Land of my Song.
Paul strode to the podium and gestured to the choir to stand. Lorna
played the introduction before the whole choir oohed the opening twelve
bars. Soloist baritone Bob Ash confidently set the scene with the first
verse and then the song took off with soaring harmonies as befitted a
Welsh male choir. Soloist tenor Geoff Roberts sweetly came in on the
eighth verse leading into the magnificent final third of the piece with
the climactic repetition of the title bringing this world première to a
resounding triumphant finish. If there had been any apprehension about
how the song would be received, 900 people gave it their wholehearted
approval with wonderful sustained applause.
Suitably relieved and exhilarated, Paul then explained the history
behind his iconic Pemulwuy before conducting the choir in this spirited
song which has been acclaimed by our many audiences at home and abroad.
Co-cheòl came back with their various instruments – flute, accordion and harp – and joined the choir on the Welsh classic Ar Lan Y Môr.
The versatile and gifted quartet then entertained the audience with
glorious harmonies, musicality and cleverly choreographed and precise
body percussion on Refraction, Heyr Himna Smiður, Auld Lang Syne
and an extended Gaelic Set. Combining once again with the choir, they
were joined by multi-instrumentalist Paul Jarman on whistle to perform a
lilting Scottish number La Boum.
Faleiry came back to conduct the choir with the emotional Amazing Grace featuring a finely modulated solo by baritone Roger Bartlett.
Then it was time for another première – not for the world but a first for VicWelsh. With words by Welsh poet Waldo Williams, Y Tangnefeddwyr (The Peacemakers) told the story of the sadness felt by a family of pacifists during the bombing raids on Swansea.
Then it was time for the rousing Men of Harlech and the finale of this remarkable concert with all our guests on the stage or in the stalls with the Welsh National Anthem Hen Wlad Fy Nhadau. As everybody was on their feet it then seemed a good idea to cement Australian-Welsh relations with our version of Waltzing Matilda with most patrons singing the English words of the chorus while the choir reprised the Welsh words of Hen Wlad. A truly joyous finish to a stupendous concert.