Another packed house in central London showed its appreciation for the choir’s polished performance of Rachmaninov’s masterpiece, while CML musical director Greg Morris – as well as conducting – presented a stirring rendition of Whitlock’s organ sonata. At a poignant evening’s music-making, the choir raised over £800 towards relief for Ukranian refugees. You can donate here:… Continue Reading
St John’s Smith Square was packed to the rafters for CML’s splendid all-Mozart concert last December – and once again CML delivered the goods. One audience member summed up the evening: ‘Superb.’ CML will undertake a repeat performance of the Requiem in April, at Temple Church. Ticketing details are available here. ‘It was an absolute… Continue Reading
Anticipating CML’s collaboration with in-demand soprano Grace Davidson on 4 December, we talked to Grace about her career, Mozart and Schubert on hosepipes. After a brief foray into cookery at Pru Leith’s School of Food and Wine, Grace won a scholarship to the Royal Academy of Music, where she won the school’s Early Music Prize… Continue Reading
Saturday October 9 saw Collegium Musicum of London Chamber Choir join singer an instrumentalist Clara Sanabras and her band in a concert celebrating the choral works of female composers across the centuries, including Sanabras’s atmospheric modern take on Shakespeare’s The Tempest, A Hum About Mine Ears. Music by Hildegard von Bingen, Barbara Strozzi and Fanny Mendelssohn was showcased,… Continue Reading
Collegium Musicum of London returned to Holy Redeemer in lively Clerkenwell for a short concert this July. Collaborating with newly formed professional ensemble Antioch, CML performed acappella works by Byrd, Purcell, Elgar and Treseder. Music for a While was the choir’s first outing since December 2020, and though performers and audience were socially distanced, the… Continue Reading
Lockdown CML delivers another fine online performance, this time of the haunting Geistliches Lied, Brahms’s earliest accompanied choral work, composed in 1856 when the composer was only 23. Set to a poem by the chorale author Paul Fleming (1609-1640) about the acceptance of fate and trust in God, it began as an exercise in counterpoint.… Continue Reading
