Reviews

Saturday 14th May 2016 Bolton Abbey Priory Church

On Saturday (14th May) evening my wife and I, together with an almost packed audience, very much enjoyed the choral and instrumental concert entitled 'Alleluia' staged at Bolton Abbey Priory Church, in aid of local charity Yorkshire Dales Millennium Trust, of which I am a Trustee.

The choir, Cantores Salicium, conducted by director Lindy Williams, was quite superb and together with five young instrumentalists, reached extraordinary heights of professionalism in performing a very stimulating and diverse programme.

It included pieces from William Byrd, Henry Purcell and Georg Handel, more modern Japanese and Brazilian works played on a marimba, and a setting of Psalm 121 by the choir's president Nicholas O'Neill. 

Entitled 'Levavi oculos', this new composition is the first work to be specially commissioned for the choir. The length of the applause at the conclusion was a testament to their skill.

Surely there can be few more beautiful venues than the Priory for such an event with its magnificent acoustics and inspiring architecture. 

I urge that all who have the chance, go and see Cantores Salicium perform, they were fabulous!

Almost £1500 was raised for the charity to support a range of projects that care for the landscape, environment, economy and communities of the Yorkshire Dales.

Andrew Campbell

As published in he Yorkshire Times

CANTORES SALICIUM – Kirkby Malham, Saturday October 18th 2014



MOZART REQUIEM

The main work in the 'Cantores Salicium' concert last Saturday, October 18th, at St. Michael the Archangel Church, Kirkby Malham, was Mozart's Requiem, the longest and biggest work the choir has tackled to date. This was preceded by a number of works by Victoria, Tallis and Byrd.

This is an excellent choir, characterised throughout the earlier works by an impressively assured technique, a wonderful clarity of tone, great variety of dynamic and immaculate diction. All these qualities were maintained in the Mozart Requiem.

Conductor Lindy Williams adopted generally brisk tempi for the Mozart which maintained the drama of this unique work throughout without ever compromising its more reflective passages.

The solo parts were taken by members of the choir, Lucy Checker, Jo Wulf, who stood in at the last moment for Cheryl Arber in the Domine Jesu, Jessica Mahler, who stood in for Cheryl in the Recordare and the Benedictus at 48 hours’ notice, Phil Andrew, Kenn Green, Chris Weston, Danny Powell and Phil Simnett , all of whom were impressive, combining most effectively in the lyrical parts of the Recordare and the Benedictus.

The choir was joined for the Mozart by organist Nicholas O'Neill, the choir's president, who also delivered an instructive and very entertaining introduction to the work. Recreating orchestral textures on the organ brings unique challenges, met superbly and consistently by O'Neill, who conveyed all the varying colours of the score flawlessly.

David Chapman

November 24th 2013 Giggleswick School Chapel

Morning, noon and night: music for Canonical Hours, Cantores Salicium

24 hours of song were pressed into a little over an hour in Giggleswick School Chapel on Sunday evening. Cantores Salicium performed a programme of music and song that gave an interpretation of the eight services that constituted the Monastic Divine Offices.  Inspired by a trip to Fountains Abbey, the programme drew upon many musical styles, ancient and modern. From the plainsong normally associated with monastic life through renaissance polyphony and baroque, to the twentieth century.  It was a treat for the ears from the very start, with singers performing a call to prayer using the chapel’s balcony and organ loft to great effect. Highlights for me included Holst’s Nunc Dimitis, Tomas Luis de Victoria’s Missa O quam gloriosum, and organist Jason Lowe’s rendition of J.S. Bach’s Fugue on the Magnificat.  The final piece, Thomas Tallis’ In manus tuas, demonstrated how complex, difficult and challenging pre-renaissance music can be, with its many changes of time signature and the choir performed it admirably.   This window on the structure of Abbey life made for a very pleasant evening.

Allan Evans