- Where the Sea Sings: What to Listen for at Southampton Choral Society’s Summer Concert
-
Date Posted: Thu, 30 Apr 2026
On the afternoon of 4 July, at St James Methodist Church Southampton, we turn our focus to the sea - its beauty, its danger, and its deep emotional pull. This thoughtfully shaped programme pairs two major English works: Edward Elgar’s Sea Pictures in a choral arrangement by Harvey Brough, and Charles Villiers Stanford’s Songs of the Fleet arranged by our musical director, Andrew Hayman. Both draw on maritime imagery, but they speak in strikingly different musical voices. Knowing what to listen for can make the experience even more absorbing.
Elgar reimagined: Sea Pictures
Elgar’s Sea Pictures (1899) is often heard as a solo work, its five songs unfolding as an intimate reflection on the sea and the human spirit. In Brough’s choral arrangement, that intimacy expands into something more communal - less a single perspective, more a shared emotional landscape.
Harvey Brough recalls discovering the songs almost by accident while working on a seaside-themed opera project and being immediately struck by its quality. The idea to arrange it for choir emerged later, prompted by a contrasting programme with jazz singer Liane Carroll and the realisation that the work had entered the public domain. Rather than use an existing arrangement, he chose to create his own under tight time pressure, completing it in just two days. Despite the speed, he approached the task with care, aiming to preserve the detail of Elgar’s original while redistributing the musical material across the choir, giving each voice both melodic and supportive roles.
As Brough himself recalls of the process, “it was a joy to arrange… I tried to get every detail from Elgar’s original correct in the voice part and piano.” That balance, between fidelity and reimagining, is central to what you’ll hear in performance.
What to listen for:- Wave-like phrasing: Notice how musical lines rise and fall across the choir. Elgar’s melodies are long and fluid; here, they pass between voices, creating a sense of ebb and flow.
- Text painting: Elgar is meticulous in matching music to words. Listen for moments where harmony darkens on images of depth or uncertainty, then brightens as the poetry turns toward light or hope.
- Blended sonority: Without a soloist at the centre, the expressive weight lies in the ensemble. Pay attention to how the choir balances clarity of text with a unified, almost orchestral sound.
- Shifts in mood: Each of the five songs has its own character, from reflective calm to quiet intensity. The transitions between them are subtle but telling.
Where Elgar reflects, Stanford narrates. Songs of the Fleet (1910) is one of Stanford's most vividly crafted choral works, a sequence of five movements set to poems by Henry Newbolt that celebrate the character, discipline, and mythology of the Royal Navy at the height of the Edwardian era. Newbolt’s verses move between stirring patriotism and reflective lyricism, and Stanford responds with music that is both robustly maritime and richly expressive. From the commanding sweep of Sailing at Dawn to the contemplative tribute of The Middle Watch and the exuberant energy of The Little Admiral, the cycle traces a broad emotional arc, evoking the sea not only as a physical force but as a symbol of national identity and human endeavour.
Stanford in full sail: Songs of the Fleet
Originally conceived for baritone soloist, chorus, and orchestra, the work has been newly arranged for a SATB choir and piano by our Musical Director Andrew Hayman. As Andrew explains, “this arrangement retains Stanford’s narrative clarity and musical vitality, allowing the collective voice of the choir to carry Newbolt’s imagery with directness and warmth.”
What to listen for:- Call-and-response writing: The chorus parts often answer or reinforce each other. Listen for these exchanges. They give the music a sense of dialogue and collective identity.
- Rhythmic drive: Stanford uses strong, propulsive rhythms to evoke movement - ships cutting through water, wind filling sails. These passages bring energy and momentum to the performance.
- Choral storytelling: The choir represents the voice of the fleet itself. Notice how it shifts character, from bold and declamatory to hushed and atmospheric.
- Contrasts in texture: Stanford alternates between full, powerful sections and more transparent moments. These contrasts help shape the narrative arc across the five songs.
Set in a city shaped by maritime history, this concert offers more than a performance. It’s an opportunity to hear the sea rendered in sound: sometimes distant and contemplative, sometimes immediate and alive.
Where: St James Road Methodist, St James Rd, Shirley, Southampton SO15 5HE
When: 3pm, Saturday, 4 July 2026
Ticket price (including booking fee): £16.17
Tickets (Ticketsource): https://www.ticketsource.com/southamptonchoralsociety/t-gllqxgy
Podcast 01 - Summer 2026
Audio generated using elevenlabs.io text to speech synthesis processing.
Elgar’s Where Corals Lie, piano accompaniment by Domenico Ricci
Stanford’s The Little Admiral recreated from an SCS rehearsal recording using openmusic.ai.
Seagulls sound effect by u_up4clmd95a from Pixabay.
- On This Day, 1944: Southampton Choral Society’s First Concert
-
Date Posted: Mon, 20 Apr 2026
On this day in 1944 what would become the Southampton Choral Society gave its first performance. Led by our founder, accomplished organist J Ambrose Chalk (1905-1994), the new choir opened its account with an undertaking of real scale, a full performance of Samuel Coleridge-Taylor’s Hiawatha at the Guildhall.
The concert did not come about easily. Wartime conditions made even routine rehearsals complicated, with members juggling work, civil duties and the disruption of daily life. As one contemporary report noted, rehearsal difficulties alone “must be a conductor’s nightmare.” Yet the organisers persisted, assembling a large choir drawn from Southampton and Chandlers Ford, supported by an orchestra combining local musicians with a small number of professionals.
There was also a strong sense of purpose behind the event. The performance was given in aid of the British Red Cross and the St John’s Prisoners of War Fund. Music here was not only cultural but contributed to wartime fundraising and morale building.
The choice of work was significant. English composer Coleridge-Taylor’s Hiawatha trilogy had been one of the most popular large-scale choral works in Britain since its premiere at the turn of the twentieth century. Based on Longfellow’s epic poem, it combines memorable melodies with vivid storytelling and a strong sense of atmosphere. Coleridge-Taylor achieved remarkable success with the work, and for decades it was performed widely by amateur and professional choirs alike – as it still is today. By 1944, it was very well known and had a proven ability to bring large forces together and engage broad audiences. For our newly formed society, it was both an ambitious and a practical choice.
The scale of the occasion reflected that ambition. Around 220 performers took part, including a choir of roughly 160 voices. The soloists, American soprano Elena Danieli (1899 – 1985), tenor Trefor Johns (1902-1965) and baritone Frederick Edwin Woodhouse (1892-1966) were well known to the audience. Under Chalk’s direction the ensemble achieved a level of unity that drew praise from the press. The demands of the score are considerable, requiring sustained energy and careful coordination, yet the performers were judged to have met them with assurance.
The audience response matched the effort on stage. The Guildhall was filled with an attentive crowd of around 1,200 people, among them many American servicemen stationed in the area as part of Operation Overlord. Their presence contributed to a distinctive atmosphere, and reports suggest that the overall reception was warm and enthusiastic, reflecting a public eager for shared cultural experience in difficult times.
A contemporary press report captured both the achievement and its context: “a choir and orchestra of 220 gave an exceedingly good choral presentation – one which reflected great credit not only on singers and players but also on those responsible for the organisation and arrangement.”
This first concert established a solid foundation for our newly formed choir. In a city where daily life was shaped by war, a large body of performers came together, tackled a demanding work, and drew a substantial audience. That combination of ambition, organisation and community support set the tone for everything that followed.
Our second concert took place the following January at the Guildhall which once again was filled to capacity, despite the deep snow outside. The programme included Stanford's Songs of the Fleet, which, unlike Hiawatha, became a regular part of our repertoire - and which we are performing in July along with Elgar’s Sea Pictures.
Image: AI enhanced newsprint photo of J Ambrose Chalk (Southern Daly Echo, 26 February, 1929), Hiawatha performance notice (Southern Daly Echo, 19 April, 1944), and photo of Samuel Coleridge-Taylor (via Wikimedia Commons).
Join our mailing list to keep up to date with our activities and events (Mailchimp)
- Find Your Voice (and Your People) with Southampton Choral Society
-
Date Posted: Wed, 8 Apr 2026
There’s something about hearing a room full of people singing together that just stops you in your tracks. If you’ve ever felt that pull, it might be time to stop walking past and actually step inside.
We’ve been part of the local music scene for over 80 years - but don’t let that fool you into thinking we’re stuffy or exclusive. We’re a genuinely welcoming group of people who just like to sing…and want more people to join in.
It’s not just about singing (honestly)
You don’t need to be a professional singer. You don’t even need to be that confident. Plenty of members started out only singing in the car or the shower.
What keeps people coming back isn’t just the music - it’s the people.
Turning up on a Monday night quickly becomes less about rehearsal and more about seeing familiar faces, having a laugh, and feeling part of something. In a world where everything is increasingly online and disconnected, that kind of in-person community is rare - and surprisingly powerful.
It does your brain (and mood) a favour
Singing is one of those activities that sneaks up on you. You arrive a bit tired, maybe a bit stressed… and leave feeling noticeably better.
That’s not just in your head. Singing has been shown to reduce stress, improve mood, and help you properly switch off from the day. When you’re concentrating on harmonies, watching the conductor, and trying to come in at the right moment, there’s no space left for your to-do list.
And when it all comes together? That moment where the sound just clicks? It’s hard to beat.
You’ll be more capable than you think
One of the most surprising things about joining a choir is how quickly you improve. Week by week, you start to recognise patterns, feel more confident, and handle music you’d never have attempted before.
We tackle everything from powerful classical works to more contemporary pieces, so you’re not just repeating the same old songs - you’re actually learning something new each term.
No pressure, just progress.
Give it a go
If any of this sounds appealing, the easiest thing to do is just turn up and try it.
When: Monday evenings, 7:15 pm
Where: St James Road Methodist Church Hall, St James Road, Shirley, Southampton, SO15 5HE
You don’t need to commit on day one. Just come along, see how it feels, and decide from there.
Worst case? You’ve spent an evening listening to some good music.
Best case? You’ve found a new hobby - and a group of people - you didn’t realise you were missing.
Please contact our Membership Secretary, Rosaleen Wilkinson: membership@southamptonchoralsociety.org.uk
Join our mailing list to keep up to date with our activities and events (Mailchimp)
- OTD 3 April 1826 - A Concert of “Ancient and Modern Music” Announced
-
Date Posted: Fri, 3 Apr 2026
On this day in 1826, a notice appeared in the Southampton Town and County Herald announcing what was billed as the "first public concert” of a Southampton Choral Society. Nearly two centuries later, as the present-day Society (founded in 1944), we read this programme with both recognition and curiosity: recognition in the enduring pillars of choral music, and curiosity at a repertoire shaped by very different tastes and expectations.
The 1826 concert promised a “miscellaneous concert of ancient and modern music” - a phrase that, in its time, spanned composers we would now firmly classify as Baroque and Classical. Names like George Frideric Handel, and Joseph Haydn appear prominently, forming the backbone of the evening. The inclusion of the “Hallelujah” Chorus and multiple excerpts from Handel’s oratorios underscores how central sacred choral works already were to communal music-making, something that remains true for us today.
Yet the rest of the programme reveals a striking contrast. Alongside these now-canonical figures sit composers such as Antonio Salieri, Carl Maria von Weber, and François-Adrien Boieldieu, represented not by full-scale works but by excerpts, overtures, glees, and songs. The prevalence of glees, a distinctly British part-song tradition, points to a social, almost domestic style of choral singing that differs markedly from the large-scale choral-orchestral works we tend to prioritise today.
Modern choral societies, including our own, typically programme substantial unified works: a complete oratorio, a mass setting, or a themed concert. By contrast, the 1826 audience experienced variety as the central appeal - short forms, operatic highlights, instrumental concertos, and even an “Indian Air” arranged for local taste. It was less about immersion in a single composer’s vision and more about showcasing breadth, novelty, and accessibility.
And yet, there is continuity. The ambition expressed in that 1826 notice, to “vie with other provincial towns of the most musical celebrity”, still resonates. Today’s choral landscape is broader, incorporating contemporary composers, global traditions, and historically informed performance. But the essential impulse remains unchanged: to bring people together through shared musical experience, balancing heritage with discovery.
Further reading
From The Southampton Town and County Herald,
Monday, April 3, 1826
Join our mailing list to keep up to date with our activities and events (Mailchimp)
- Southampton Choral Society Excels With Confident Voices and Bold Choices
-
Date Posted: Tue, 31 Mar 2026
Southampton Choral Society opened their programme at Chandlers Ford Methodist Church on Saturday with an ambitious and confident first exploration of Cecilia McDowall’s Da Vinci Requiem.
Tackling such a complex contemporary work demonstrated both commitment and musical curiosity, and under Andrew Hayman’s assured leadership the choir delivered a performance of growing confidence and cohesion. As the piece unfolded, the ensemble settled into its distinctive rhythmic and harmonic language, shaping the work with increasing clarity and purpose. It was a pleasure to hear it come together with soloists Jenni Harper (Soprano), and Oliver Turner (Baritone), who sang with great poise - contributing to a compelling overall sound world.
This was followed by pianist David Hall’s sensitive performance of Automne by Cécile Chaminade, offering a particularly enjoyable and contrasting interlude before the choir returned to complete the second half of the Requiem with continued conviction. Taken as a whole, this was an impressive and rewarding first encounter with a demanding work, warmly appreciated by an audience of around 150, whose response reflected both engagement and admiration. The Da Vinci Requiem is a piece that clearly merits a place in the choir’s growing repertoire.
Following the interval, the second half showcased the choir’s stylistic versatility, moving into Baroque repertoire with vigour and polish. Isabella Leonarda's Dixit Dominus was delivered with confidence and expressive clarity, clearly playing to the choir’s strengths.
A lively intermezzo featured Andrew Hayman in an exuberant organ performance of Emma Lou Diemer’s Fiesta, adding rhythmic vitality and flair to the evenings enjoyment.
The programme concluded with a particularly strong Vivaldi Gloria. There were moments of beautifully unified ensemble singing, and the choir captured the energy, bounce, and dance-like character with real style. Joined by mezzo-soprano Jenny Samuel, alongside Jenni Harper, the performance was both confident and uplifting, bringing the evening to a satisfying close
The inclusion of works by four women composers (McDowall, Chaminade, Leonarda and Diemer) was a thoughtful and fitting way to mark International Women in Music Day, highlighting both their artistic contribution and enduring influence within the choral repertoire.
Join our mailing list to keep up to date with our activities and events (Mailchimp)
- Tonight’s International Women in Music Day Performance
-
Date Posted: Sat, 28 Mar 2026
This evening, we present a programme that balances familiar repertoire with a more recent addition: Antonio Vivaldi’s Gloria, Isabella Leonarda’s Dixit Dominus, and the contemporary Da Vinci Requiem by Cecilia McDowall.
Vivaldi’s Gloria is one of the society’s most frequently revisited works, performed seven times between 1944 and 2024. From the Guildhall to Beaulieu Abbey, it has remained a consistent feature of the choir’s programming, valued for its energy, clarity, and enduring popularity. This evening’s performance continues that established tradition.
Leonarda’s Dixit Dominus, while less frequently performed, is not new to the choir. It was last presented in 2017, and its return offers a chance to revisit a distinctive Baroque voice that sits outside the more commonly performed canon. As a composer, Leonarda represents an important but often overlooked strand of 17th-century sacred music, and the inclusion of her work reflects the society’s interest in exploring a broader historical repertoire.
In contrast, Cecilia McDowall’s Da Vinci Requiem marks a first for the society, making it the most forward-looking element of the programme. Combining the traditional Requiem text with reflections inspired by Leonardo da Vinci, it introduces a contemporary tonal and thematic dimension.
Overall, this evening’s concert brings together three different perspectives: a well-established favourite, a returning but less familiar Baroque work, and a modern composition new to the choir’s repertoire.
Tonight, we will be joined by soloists Jenni Harper (Soprano), Jenny Samuel (Mezzo-Soprano), and Oliver Turner (Baritone) with David Hall providing piano accompaniment.
Tickets will be available on the door, but to guarantee a seat book them online now.
- Getting to the Gloria Concert – A Quick Guide
-
Date Posted: Thu, 26 Mar 2026
If you’re coming to our “Gloria” concert at Chandlers Ford Methodist Church (SO53 2GJ) on Saturday 28 March (19:30–22:00), here’s a simple guide to help you plan your journey.
By Bus
The church is conveniently located on the Bluestar 1 route, which runs between Southampton and Winchester and stops in Chandlers Ford.
• This is the most straightforward public transport option.
• Buses run regularly in the evening.
After the concert (finishing ~22:00):
Evening buses continue to run roughly every 30 minutes. Typical departures towards Southampton are around:
• 21:57
• 22:27
• 22:57
(Exact stops and times may vary slightly, so it’s worth checking live timetables on the day.)
Parking
Parking is straightforward and free, with several options nearby:
• Behind the church – limited spaces available on site.
• Nearby supermarket car park: Waitrose in Oakmount Road, SO53 2LG (ground-level parking only, a short walk away)
• Additional on-street parking is available in surrounding residential roads.
By Train
The nearest station is Chandlers Ford, about a short taxi ride or a longer walk from the church. The station has step-free access and basic facilities.
However, for this evening event, buses or driving are usually more convenient than rail.
Practical Tips
• If you’re local, the Bluestar 1 bus is the easiest option—no parking concerns.
• If driving, aim to arrive a little early as the church car park is small.
• After the concert, there are still regular buses back towards Southampton, so you won’t be stranded.
Overall, access to the venue is relatively easy, whether you choose public transport or to drive. We look forward to seeing you!
Ticket information: www.ticketsource.co.uk/southamptonchoralsociety/t-qmvedqm
View Larger Map
- Soloists Announced for Upcoming Southampton Choral Society Concert
-
Date Posted: Wed, 18 Mar 2026
We are delighted to announce the lineup of distinguished soloists for our upcoming concert at Chandler’s Ford Methodist Church on Saturday, 28 March. In celebration of International Women in Music Day, the evening will feature soprano Jenni Harper, mezzo-soprano Jenny Samuel, and baritone Oliver Turner in a programme bridging the gap between Baroque brilliance and contemporary imagination.
The concert highlights include Vivaldi’s Gloria, Isabella Leonarda’s Dixit Dominus, and the centrepiece of the evening: Cecilia McDowall’s Da Vinci Requiem. This modern masterpiece weaves Latin texts with entries from Leonardo da Vinci’s private notebooks to explore humanity's connection to the natural world.
Meet the Soloists
Jenni Harper (Soprano) Described by The Times as "characterfully sung" and by Opera Today for her "fine focus and strong dramatic presence," Jenni Harper is a Britten-Pears Young Artist who graduated with distinction from the Guildhall School of Music and Drama. Her recent highlights include performances with the Academy of Ancient Music and the London Mozart Players, as well as lead operatic roles such as Euridice in Monteverdi’s Orfeo.
Jenny Samuel (Mezzo-Soprano) A highly experienced freelance opera singer and Part-Time Lecturer at the University of Southampton, Jenny Samuel has performed with prestigious companies including the English National Opera, English Touring Opera, and Buxton Festival Opera. Her extensive repertoire includes roles such as Katisha in The Mikado, Marcellina in The Marriage of Figaro, and the title role in La Cenerentola. She is also a well-known vocal educator across Hampshire.
Oliver Turner (Baritone) Hailing from Manchester, Oliver Turner currently serves as a Lay Clerk at Guildford Cathedral and is a young artist with the Oxford Bach Soloists. A former student of Chetham's School of Music and the University of York, Turner is also active in vocal leadership, working with organizations such as the Royal School of Church Music and Gabrieli Roar.
Concert Accompanist
David Hall (Organ) Studied the piano with Laura Cole and Freni Cha and the organ with Anne Marsden Thomas at the Royal Academy of Music. In 1996, he was appointed organ scholar at Corpus Christi College, Cambridge. In the following years, he played regularly at Chelmsford Cathedral and became Director of Music at Twyford School in Hampshire and Musical Director of Finchcocks Piano Courses in Kent.
A Night of "Spicy Rhythms and Colours"
Musical Director Andrew Hayman describes the programme as ambitious music that "constantly tweaks the ear with its spicy rhythms and colours". The evening promises an emotional journey, moving from the joyful energy of Vivaldi to the "luminous, hopeful conclusion" of McDowall’s Requiem, where voices and violins fade away in a musical tribute to Da Vinci’s theories on perspective.
Event Details
- What: Southampton Choral Society: International Women in Music Day Concert
- When: 7:30pm, Saturday, 28 March
- Where: Chandlers Ford Methodist Church, Chandlers Ford, SO53 2GJ
- Tickets: Under 18s: £5, Adults: £16. Available via Ticket Source at www.ticketsource.co.uk/southamptonchoralsociety
- Celebrate International Women in Music Day with the Southampton Choral Society
-
Date Posted: Mon, 9 Mar 2026
Get ready for a night where centuries of music meet in one unforgettable concert. To celebrate International Women in Music Day, the Southampton Choral Society welcomes audiences to Chandler’s Ford Methodist Church for an inspiring programme that travels from the brilliance of the Baroque to the bold imagination of contemporary music.
The evening opens with two luminous works from the Italian tradition: Vivaldi’s Gloria (composed for the girl's choir at a Venetian orphanage) beloved for its joyful energy and radiant melodies, and Isabella Leonarda’s Dixit Dominus, a powerful reminder of the expressive richness of early sacred music. Together, these works set the stage for the concert’s centrepiece - a modern composition that challenges, surprises and deeply moves.A Modern Requiem Inspired by Genius
At the heart of the programme is Cecilia McDowall’s Da Vinci Requiem, a work as intellectually fascinating as it is hauntingly beautiful. Commissioned to mark the 500th anniversary of Leonardo da Vinci’s death in 1519, this is not a traditional Requiem. Rather than focusing on judgment and wrath, McDowall reimagines the form by reflecting on humanity’s place within the natural world.
She weaves together the Latin text of the Missa pro defunctis with excerpts from Leonardo’s own notebooks - intimate, curious writings that reveal his thoughts on nature, art and existence. The result is music that feels both ancient and strikingly modern.
McDowall, one of Britain’s most acclaimed contemporary composers, has been captivated by Leonardo’s notebooks since childhood. That lifelong fascination shines through in a score that balances dark contemplation with rhythmic vitality and flashes of unexpected beauty.What to Listen For
The Da Vinci Requiem unfolds in a distinctive “arch” shape, carrying listeners on an emotional journey. It begins with a deep, flowing line in the lower instruments, creating an atmosphere that is quietly unsettling. As the work progresses, moments of sharp-edged dissonance emerge, including sliding strings that add tension and urgency.
Gradually, the music rises to a powerful high point before easing into a luminous, hopeful conclusion. In the final moments, voices and violins seem to drift upward and fade away - a musical nod to Leonardo’s own ideas about perspective and disappearance.An Invitation from the Choir
Known for both musical excellence and social conscience, the Southampton Choral Society relishes ambitious programmes like this one. Musical Director Andrew Hayman describes the experience as “music that constantly tweaks the ear with its spicy rhythms and colours.”
Whether you come for Vivaldi’s familiar brilliance or to discover how Leonardo da Vinci’s sketches can be transformed into sound, this promises to be a concert that lingers long after the final note.
When: 7:30pm, Saturday, 28 March
Where: Chandler’s Ford Methodist Church
Tickets: £5.39 - £17.25 (price incl. booking fee) Ticket Source
Rehearsals are always open to the public - and full of passion and energy. We’d love to see you there.
For more information, see: www.ticketsource.co.uk/southamptonchoralsociety/t-qmvedqm
- Good Luck Claudia
-
Date Posted: Tue, 23 Jul 2024
We say thank you and good luck for the future to Claudia Grinnell our accompanist who is taking up her new job as Director of Music at St Edmondsbury Cathedral in Suffolk..
- Close links with other singers
-
Date Posted: Tue, 23 Jul 2024
In September Sopranos and Altos from SCS are joining with the Conchord singers to sing Holst's The Planet Suite in aid of the Princess Anne Hospital. Come and hear us at Romsey Abbey on the 21st September.
- Haydn: The Creation.
-
Date Posted: Tue, 23 Jul 2024
Southampton Choral Society are joining the Conchord Singers in a joint performance of The Creation on Saturday 15th February 2025.
