Schola Cantorum - In Paradisum

[Celt]

Yes, it's amazing that they're able to attract such great talent to such an expensive school.

CVMS is a comprehensive school funded by the Government (DfE).

Until 2009 they selected heavily on religious criteria (it is a Catholic school after all) but were essentially made to alter their selection criteria. I suspect that given it is one of the top comprehensive schools in the country, oversubscription allows it to select on various criteria, such as, for instance, musical ability. I can't say for sure it happens at CVMS, but I know for certain it happens at other similarly well regarded state schools with attached liturgical choirs.

[Padmachou]

Nice photo, thank you for sharing ! They sure are good, but when you mean top choir... well then is Libera just number 2 to you ?

I don't want to be burnt alive by an angry mob... so, can I refuse to answer that question please? I can already sense the Forumites here crowdfunding a wicker-man for me...

It is the range of CVMS singing that I like, the different styles and activities that they are involved with, is what excites me. I'm very much hoping I can get a cheap ticket for Tosca in the next couple of weeks, at the place you were at on Monday. A few weeks back some of them were part of a large choral ensemble at Ely Cathedral (which sadly I saw too late and had to miss) Pieces like Handel's Messiah and Britten's Ceremony of Carols are favourites of mine, and they perform them so well, and there is something about a good treble-choir performing the classics well, that is extra-special!

No, I get it, everyone is free to like different things If it is connecting to your soul, there is no questioning it. Actually it's good that everyone can find what suits them, imagine if everyone in this world was rushing to get first row tickets for Libera concerts ? It's already difficult to get one as it is.

[Celt]

I'm back front row at SJSS on Tuesday. In fact I have 5 different choirs over 5 consecutive evenings in different venues... all featuring trebles starting Tuesday. As they might say in a disclaimer... Libera is excellent, but other good treble choirs are available

Yeah, I was in the system when front row still showed as available for the Libera concerts, but I was too slow and just settled on third row in the end.

My last pre-Xmas concert will be back at SJSS for CVMS on the 20th.

[bachmahlerfan]

Well, I'll just say that the main attraction for me with Libera is that they do something different than traditional choirs, and also different from other 'classical crossover' artists. Yet, they still manage to maintain a high level of artistic integrity. I've never been and probably will never be a big fan of regular boys choirs, but I am a Libera fan. Now, if we're talking Britten's "Ceremony of Carols" for example, then I would certainly be happy to hear a good boy's choir like the CVMS Schola. However, do I really want to hear all the alto and soprano solos in Handel's "Messiah" sung by boys? Definitely not. Now some would point out the "Messiah" recording with the New College Choir as an example of how good boys can be singing those solos. I agree that some of them are pretty good, but most of the solos I would definitely prefer with a good, strong woman's voice.

[Celt]

I suppose I sit on the middle ground on that. I like the way Libera does things differently, but I like the traditional repertoire too. But I do understand there is a time and place for boys to sing these parts. However, in the case of CVMS, I have found their rendition on a couple of years (not always) superior to other versions I have heard, and I have heard it at least 10+ times live from different orchestras/choirs in venues ranging from the cavernous Royal Albert Hall to smaller venues like SJSS or St Martin-in-the-Fields, most without boys voices involved. There is a musicality and innocence to CVMS' version which I think adds an extra element to the story being told. As for other well known pieces, New College Oxford also have an excellent recording of Mozart's Requiem. But Verdi's Requiem with all boys voices? I can't really see it. Carmina Burana with more than just their normal part? Almost certainly not. But if you ever get a chance, give CVMS' Messiah a go, you may be pleasantly surprised...

[bachmahlerfan]

I suppose I sit on the middle ground on that. I like the way Libera does things differently, but I like the traditional repertoire too. But I do understand there is a time and place for boys to sing these parts. However, in the case of CVMS, I have found their rendition on a couple of years (not always) superior to other versions I have heard, and I have heard it at least 10+ times live from different orchestras/choirs in venues ranging from the cavernous Royal Albert Hall to smaller venues like SJSS or St Martin-in-the-Fields, most without boys voices involved. There is a musicality and innocence to CVMS' version which I think adds an extra element to the story being told. As for other well known pieces, New College Oxford also have an excellent recording of Mozart's Requiem. But Verdi's Requiem with all boys voices? I can't really see it. Carmina Burana with more than just their normal part? Almost certainly not. But if you ever get a chance, give CVMS' Messiah a go, you may be pleasantly surprised...

I should clarify that I do enjoy a lot of traditional choral music as well. But, my musical tastes are eclectic, and Libera fills a certain musical niche that other musical groups don't fill. Additionally, I think they maintain a high level of musical integrity, which can't be said for some other 'classical crossover' artists. I've watched some of the videos provided by CVMS, and while they are usually good, I'm not blown away by them or feel that I'm discovering something new. The only reason I'll watch them is due to my interest in hearing a Libera singer doing a solo.

[seraphita]

For those who are interested:




Watching this now is perfect slow tv
https://churchservices.tv/kensington1

[Luckdragon]

Back to In Paradisum for a moment, here are some quick links to songs with soloists that might be of particular interest here.

[seraphita]

This is a beautiful CD that I also bought. A 'must have'.

The Cardinal Vaughan Schola Cantorum and Libera have some of the same singers. I think both choirs are sublime and of a high quality. Is this a coincidence or is it due to the quality of the choirs?

Back to In Paradisum for a moment, here are some quick links to songs with soloists that might be of particular interest here.

[Luckdragon]

This is a beautiful CD that I also bought. A 'must have'.

The Cardinal Vaughan Schola Cantorum and Libera have some of the same singers. I think both choirs are sublime and of a high quality. Is this a coincidence or is it due to the quality of the choirs?

With the passing of RP, Scott Price is arguably the best children's choir director in the country right now.

As has been stated previously in this thread, CVMS is a state school so it's accessible to anybody who can make the commute.

We don't know much about their vocal training, but it must be exceptional because their non-Libera soloists are every bit as good as Libera's.

Two more Libera members joined the Schola in September.

Check out Hodie! if you haven't already. It's not very "Christmasy" so I still listen to it often. The pure treble voices and harp accompaniment are really sublime.

[Celt]

I wrote this piece in December shortly after attending their Hodie! recital at the Royal Opera House. I was intending to get it published through a friend, but decided it was less value without an actual interview and shelved it.


The Right Way to Run a Schola Cantorum

The last twenty months have seen a sea-change in the cultural habits of every country in the world. No institution has been exempt, and each and every organisation involved in the musical heritage of our lands has battled to stay afloat in the current climate.

Even those institutions buffered to some degree from the worse effects of the cultural decimation of the covid pandemic have struggled. School choirs, and those supported by academic institutions, have arguably been shielded from the worst effects financially, but have still struggled in other ways key to the progression of those talent bases. They have struggled from lack of in-person practice, from the lack of peer engagement and from the dearth of public performance opportunities. Activities key to successful development. As the world emerged in early summer, piecemeal, from the last major wave, the relative stability of the situation in the UK allowed a return to a degree of normality for some organisations, such as the Schola Cantorum of the Cardinal Vaughan Memorial School.

The Schola's range of engagement is impressive. Even back in July during the tentative first steps of the reopening UK economy, the Schola were already involved. A cohort of talented singers plied their trade as the various animal characters in Janáček's Cunning Little Vixen at the Holland Park Opera. Essentially an outdoors venue, but still adhering to strict covid social distancing and health regulations, the fun and engaging production was enhanced by the participation of the excellent Schola soloists and chorus, melting away the latent fear of the pandemic with their enthusiastic performances.

In September and October, with almost all restrictions lifted, some Schola members were back in an opera again, this time the Royal Opera House, with which the Schola has a long and successful history of collaboration. Split over two teams, the four members of the Schola, as Knaben in the Magic Flute, performed admirably, taking their floating arrival on stage fully in their stride and singing superbly.

Then to late October, and a long waited return to the stage as a single entity, the Schola performed their first concert in almost 18 months, the first since their 40th Anniversary concert. A free concert, designed undoubtedly to reintroduce the wider base of Schola members to the world of public performance, could only be described in one way: too short. With a superb mix of pieces and a fantastic array of soloists the hour long recital could and should have gone on longer.

Onwards to November and December and the Schola had a number of major engagements. A regular Saturday appearance at the Dorchester singing carols over afternoon tea and then a huge concert at St John's Smith Square of Handel's Messiah on the 3rd December. This was, and is again, a highlight of the choral calendar. Messiah is naturally a staple of the Xmas concert period, but there is something special about the Schola's approach. Accompanied by the excellent St James Baroque, the performance has a life and musicality to it that makes it a joy to listen to. The soloists, of various ages, all members of the Schola, demonstrate their talent superbly and really bring the piece to life. This is, after all, the Messiah and what better way to enliven it than with eighteen different young solo voices! It is arguably a far more enjoyable rendition that those from more accomplished professional choirs, with an innocence and joy that only adds to the narrative of the piece.

Just days later the Schola were back in full choir mode for a lunchtime recital, with a large and attentive audience at the Royal Opera House. Accompanied by harp the Schola sung the whole of Britten's Ceremony of Carols, with requisite Procession and Recession in and out of the performance space! A magnificent performance, and the absolute union of good music, and sublime and innocent voices! If Handel's Messiah three days earlier had shown their strength in depth all the way back to Bass voices, this concert showcased the exceptional treble talent on offer in the Schola. With very good attendance numbers the Schola more than repaid the faith of the Royal Opera House in not only their musical ability, but pulling power as a well regarded choir.

This last concert was designed to highlight the final feather in the cap of this fantastic choir, their professional recordings. With three recordings in the last three years, this is an exceptionally productive choir, and their latest recording, Hodie!, featuring Britten's Ceremony of Carols, is a delight to listen to. While there are other people involved behind the scenes in the development of this choir, the director, Scott Price, should take due credit for his undoubted hard work and vision in producing one of the best choirs in recent years. The quality that Scott has nurtured in this choir, even during one of the toughest times both generally and culturally in the UK, is remarkable!

[Luckdragon]

I wrote this piece in December shortly after attending their Hodie! recital at the Royal Opera House. I was intending to get it published through a friend, but decided it was less value without an actual interview and shelved it.

Great write-up. Thanks for taking it off the shelf for us.

I hope you'll continue to expand this, both into the future and the past. If you do, you may one day be regarded as the Amie Hill of the CVMS.

[Celt]

I wrote this piece in December shortly after attending their Hodie! recital at the Royal Opera House. I was intending to get it published through a friend, but decided it was less value without an actual interview and shelved it.

Great write-up. Thanks for taking it off the shelf for us.

I hope you'll continue to expand this, both into the future and the past. If you do, you may one day be regarded as the Amie Hill of the CVMS.

Thanks. I appreciate your feedback.

[TullyBascombe]

Cardinal Vaughan Memorial School is a state school? It's not affiliated with the Roman Catholic Church?

[Luckdragon]

Cardinal Vaughan Memorial School is a state school? It's not affiliated with the Roman Catholic Church?

It is a Catholic state school, as is the London Oratory School.