Saturday 20th June 2015

Farewell Concert

Counterpoint

with

James Bowman (countertenor)

Buckfast Abbey

This was our Final Concert at Buckfast Abbey, and celebrated the past 28 years of concerts and services in this wonderful church.

We performed our most popular pieces from our long history.

The choir comprised singers from those many happy years, including our good friend, James Bowman.

Programme:

• Vox dicentis - Naylor
• Psalm 130 - Out of the deep
• James Bowman - O nata lux - Tallis
• James Bowman - Ave verum - Byrd
• Bogoroditse Dyevo - Rachmaninov
• O magnum mysterium - Lauridsen
• Lux aurumque - Whitacre
• The Reproaches - Sanders
• INTERVAL
• James Bowman & Counterpoint - Drop, drop slow tears - Gibbons
• James Bowman - Elegy on the death of Thomas Tallis - Byrd
• Funeral Ikos - Tavener
• Versa est in luctum - Lobo
• Lux aeterna - Elgar
• James Bowman - Hide not thou thy face - Farrant
• James Bowman - Evening Hymn - Purcell
• Circumdederunt me dolores - Padilla
• Sleep - Whitacre
• Encore - Tourdion - anon, French 16th century.

• Counterpoint from above

  David - Judith - James

  Counterpoint from the lantern

  Judith - David - James - Shaun

  David applauds the choir

  For more than a quarter of a century, a former Exeter Cathedral choristeer, David Acres, has been making sensational music, both sacred and secular, with his own unique choir - Counterpoint.
• In 2012, David moved to Cleveland Ohio, joined the choir of Trinity Cathedral, became a member of the Trinity Chamber Singers, joined Quire Cleveland, and founded a new high voice ensemble - 'Contrapunctus' - with Judith Overcash as Artistic Director.. David and Judith moved to Charleston, South Carolina, where they were married in 2014. They also founded a new choir, The King's Counterpoint, to continue the pursuit of sacred and secular polyphonic music through the ages.
• The loyal Counterpoint audience in Devon were not forgotten. David and Judith returned to Buckfast Abbey on Saturday 20th June this year to give a 'farewell' concert, and were joined once again by James Bowman. The Abbey was, understandably, packed with well-wishers on the night.
• The audience had two glorious hours of music. The concert featured a thrilling and nostalgic selection of pieces, which had been performed by Counterpoint in the preceding twenty-six years. The choir was at full strength, with thirty members, including Judith with the sopranos - not to mention James Bowman singing with the choir and solo. To accompany James, counter-tenor Shaun Pirttijarvi doubled as baroque organist.
• The music began with Vox Dicentis, 'Clama' (A voice said, "Cry out!"). This motet was written in 1911 by the organist of Emmanuel College Cambridge, Edward Naylor. The text comes from the Isaiah. The sense of a lone voice crying out in supplication in the wilderness was perfectly evoked by the whole choir, introduced by the lower voices. The ensuing exegesis was a masterpiece of interplay between voices, and the perfect introduction, or re-introduction, to the wonders of such a prestigious choir.
• In a poignant reminder of the commitment of many Counterpoint members to the musical life of the Abbey, and Exeter Cathedral, the choir moved on to Psalm 130 - "Out of the depths I cried unto thee, O Lord". With its soothing tones, and gentle doxology, this formal piece of liturgy reprised the preceding theme in a beautiful form, perfectly suited to the ecclesiastic atmosphere of the Abbey.
• James Bowman sang two solo pieces in the first half of the concert, both from musicians of the sixteenth-century Chapel Royal, O Nata Lux, de Lumine (O Light, Born of Light) by Thomas Tallis and Ave, Verum Corpus (Hail, True Body) by William Byrd. Tallis and Byrd held the monopoly in polyphonic music for two decades under Elizabeth I. In these two liturgical songs, they set out to impress listeners abroad with the delicacy and complexity of English music. Accompanied by Shaun Pirttijarvi on the baroque organ, James expounded those principles all over again with his splendidly controlled counter-tenor voice.
• The choir took liturgy in a different direction next, with the deeply sad and angry rendition of Ave Maria written by Sergei Rachmaninov for his All Night Vigil for the fallen soldiers on the Eastern front in 1915. Bogoroditse Dyevo (Hail, O Virgin) is initially ethereal, but then threatening, as the full force of the voices charge the music with emotion.
• The mysterious sound of Rachmaninov's Russian lyrics led straight into Morten Lauridsen's 1994 version of the Christmas responses, O Magnum Mysterium (O Great Mystery). The devotional words express the transcending delight associated with the mystery of a human mother giving birth to a divine being.
• The celestial brilliance of Lauridsen's mystery was sustained as the choir moved on to another piece, composed for Christmas in 2000 by Eric Whitacre, Lux Aurumque (Golden Light). The words are from Edward Esch's contemporary poem Light and Gold, translated and adapted by Charles Anthony Sylvestri. The voices of the choir, however, joined so seemlessly, and modulated so seductively, that the mood Eric Whitacre intended was conveyed in delicious sound, as much as through the words.
• To lead to the intermission, the choir sang an extended piece of music composed by John Sanders in 1993, The Reproaches. John Sanders wrote this musical setting of the liturgy for Good Friday the year before he retired as organist at Gloucester Cathedral. The text combines the words of the Passion, "O my people, what have I done to you?" with the words of the Eastern Orthodox Trisagion (Thrice Holy), and prayer of supplication. Counterpoint baritone, Matt Cann, has recently recorded this piece with his Antiphon choir as part of their new CD on the Willowhayne Records label - O My People. Matt describes The Reproaches in this way: "One of the glories of music for Passiontide, you'll hear the Sanders' Reproaches sung in nearly every cathedral on Good Friday. It is quite simply the most sublime piece of music." A perfect description of the Counterpoint performance.
• The first of James Bowman's two pieces after the interval was the highly emotional Drop, Drop Slow Tears by Orlando Gibbons, a younger contemporary of Tallis and Byrd who joined the Chapel Royal under James I. Orlando Gibbons died only two years after William Byrd, who lived to be eighty-three. Forty years earlier William Byrd had mourned the loss of his mentor Thomas Tallis (who had himself lived to eighty years of age) and composed his famous Elegy on the Death of Thomas Tallis. As Shaun Pirttijarvi continued his gentle organ accompaniment, James proceeded into the Elegy. With inexorable grace he invoked the sacred muses to come down to earth and join in the lament, "Tallis is dead, and Music dies."
• Suddenly the choir took us to 1981, and the music of John Tavener who was at that time not much younger than William Byrd was when he wrote his Elegy. John Tavener wrote Funeral Ikos four years after his conversion to the Greek Orthodox Church. The text is the liturgy for the funerals of priests, and a very appropriate adjunct to the elegy that preceded it. The pained and plaintive entreaty of the words, to understand the mystery of death, is interspersed by the reassuring repetition of the chorus - four drawn out Alleluias.
• Continuing the theme of mourning, the choir moved back to 1598 and Alonso Lobo's funeral refrain for the death of England's Prince Consort, Felipe II of Spain, Versa est in Luctum Cithara Mea (My Harp turns to mourning). We must recall, at this point, that the concert was heading rapidly towards its close. An era was ending and long-standing members (including founder members), as well as those who joined the choir more recently, were feeling the emotion of the words particularly strongly. Needless to say, their voices were as strong and clear as ever, but now a distinct mood of sadness and loss infused the words more than ever before, "Spare me, O Lord, for my days are nothing."
• As a fitting coda to the sequence of funeral music, David led the choir in a very familiar setting of words from the requiem mass "Lux Aeterna Luceat Eis, Domine" (Let everlasting light shine upon them, O Lord). In 1899 Edward Elgar used the music from his successful orchestral composition of the previous year, The Enigma Variations, as a setting for "Lux Aeterna". The ninth variation, an adagio, is dedicated to his editor Augustus Jaeger, and represents Nimrod, the mighty hunter in Genesis - 'jäger' meaning 'hunter' in German) This was the perfect opportunity for David to conduct a full orchestra of vocal expression - and for the choir to regain their composure in a refreshing tumult of sound.
• James Bowman made his final solo appearance, and most lasting impression, with a further two impassioned laments from the sixteenth and seventeenth century. The first was composed by a contemporary of William Byrd at the Chapel Royal, Richard Farrant. As well as providing music for royal ceremonies, Richard Farrant was also a playwright and founder of the Blackfriars Theatre on the site of a Dominican Priory in London as a venue for child actors associated with the Chapel Royal.
• Hide not thou thy face from us, O Lord is loosely based on the words of Psalm 102, elaborating on its message with an offer to confess all sins, in return for deliverance. James projected just the right air of abject obeisance as he sang these deferential words of entreaty, evoking the religious fervour of the Tudor Royal Court.
• Finally James sang the piece for which he is perhaps most famous. When he was at Exeter Cathedral (exactly three years before this concert), to receive his Fellowship of the Royal School of Church Music at the Celebration Day Service, James performed Henry Purcell's Evening Hymn. Purcell was at the Chapel Royal a century later than William Byrd and Richard Farrant. He attended the coronation of Charles II and wrote music for the funeral of Mary II.
• Unlike Farrant's public display of piety, Purcell's hymn is a more private expression of devotion. The words, "Now that the sun hath veiled his light" refer to settling down for a good night's sleep, rather than anticipating death. (Henry was only twenty nine when the hymn was published.) The hymn is almost a lullaby, culminating in a soporific iteration of the final word, "Hallelujah". It was a very special treat for everyone to hear James perform this delightful piece so sweetly once again.
• The choir closed the concert with music from the New World. Juan Gutiérrez de Padilla moved from Spain to the Caribbean as a young man in 1620. His works are preserved in Puebla de Los Angeles in Mexico, where he became Director of Music at the Cathedral when he was thirty-eight. There is a distinctly transatlantic flavour to Circumdederunt me Dolores Mortis (The Sea of Death), where he felt doomed to damnation in hell. In a fitting echo of the opening music of the concert he ends, "A Deum meum clamavi" (To my God, I cried.)
• The systematic winding-down of emotions in the closing pieces reached its reassuring and enrapturing nadir in one last piece of modern - and secular - music. Despite the summer sun still being firmly above the horizon, the choir sang "The evening hangs beneath the moon", opening another setting of poetry by Eric Whitacre, Sleep. The original words by Robert Frost were "Stopping by Woods on a Snowy Evening", but copyright issues meant that Whitacre had to ask Charles Anthony Sylvestri to step in and write a new set of lyrics to his music. When the work was completed, Whitacre preferred Sylvestri's version and eschewed Robert Frost's verses.
• As a finale to an evening of heart-breaking music of mourning, Sleep was just the tranquilliser needed to settle the tortured breast. The gentle ululation of the closing word, 'sleep', repeated hypnotically, and perfectly mirroring the 'Hallelujah' of Purcell's hymn, provided a perfect respite for reflection and nostalgia. What a beautifully thoughtful and well-considered choice of programme by David Acres.
• Just one more ...
• Counterpoint audiences know not to applaud after each piece (although they would often like to). However, at the close of the concert the audience took the opportunity to show their heart-felt appreciation. During the prolonged ovation many were aware that there was more to come. To reflect the choir's French connection, David had prepared a captivating encore in the form of a dance.
• Tourdion translates literally as "The Twist". In this case, however, the sound, and the driving sense of the music, has a more gentle and sensitive feel than the Midnighters' modern version. The minimal sound of the sopranos was like a distant voice calling across time - and from the opposite coast of the English Channel. The continuo was soft and melting, carrying everyone away on a wave of soft murmering magic.
• The 'farewell' concert (or rather, we hope, 'au revoir') was as fitting a send-off as one could possibly imagine. David Acres directed the choir with simple grace, and his familiar ear for detail. Every one of the thirty voices rang out in the lofty confines of Buckfast Abbey with spine-tingling clarity and overwhelming emotion. Every piece was a gem in itself, and each contributed to the building of that very special aural environment which is a Counterpoint concert.
• Particular thanks must go to James Bowman for making a special journey to Devon to sing for us once again. In his introductions, David Acres (a counter-tenor himself) was at pains to point out what an illustrious role model James had been for him. Twenty years ago David regularly made a special journey to see and hear James perform. How amazing to see the two together now, entertaining us with their incomparable music over the past few years.
• Go slowly. Come back quickly! (edited version of review and photos by Luch Càise-Dearg Classical Journey)

Saturday 26th October 2013

The Remarkable Mr Henry Purcell

Counterpoint

with

James Bowman (countertenor)

Buckfast Abbey

Programme:

• I was glad when they said unto me
• Remember not, Lord, our Offences
• Evening Service in G minor (Magnificat and Nunc Dimittis) *
• Hymn to God the Father - Pelham Humfrey (James Bowman)
• Lord, how long wilt thou be angry
• Funeral Music for Queen Mary

Interval

• Thy Word is a Lantern *
• Jubilate in D major *
• Hear my Prayer
• Jehova quam multi sunt hostes
• Evening Hymn (James Bowman)
• Rejoice in the Lord *

* Verse sections sung by James Bowman

• James Bowman

  Julian Rippon

  David Davies

  Judith Overcash and James Bowman

  Sopranos and countertenors

  Tenors and James.

  Man is born of woman ...

  All showing their enjoyment.

  At Buckfast Abbey on Saturday 26th October, David Acres unveiled a new experimental Counterpoint Choir vocal line-up. The number of voices was reduced. Eight women sang with twelve men. All the women sang soprano, with four each of counter-tenors, tenors and basses.
• In the bass section was the new Musical Director of Buckfast Abbey, Philip Arkwright. The countertenors and sopranos were joined respectively by John McElliot and Judith Overcash of Quire Cleveland. John and Judith invited David Acres to sing alto in their choir during a UK tour earlier in 2013. David then invited them to join Counterpoint for the evening of Purcell songs. David has now joined the Cathedral Choir and Chamber Choir at Trinity Cathedral, Cleveland Ohio, and has become a regular member of Quire Cleveland.
• The special guest for the evening was James Bowman, who not only sang astoundingly beautiful solo works by Purcell, but also joined the choir as an additional countertenor voice and occasional soloist - not to mention some very lovely ensemble singing with selected choir members.
• The evening began without pre-amble. The opening song was one written by the 23 year old Purcell for the coronation of James II to augment Handel's Music for the Coronation of George II. No explanation of the music was necessary. As usual, David Acres had provided full historical details in the programme notes.
• The words of Psalm 122, "I was glad when they said unto me, 'we will go into the house of the Lord'" demonstrated the full potential of the new Counterpoint structure. Every voice was strong and individually audible, and the overall sound perfectly balanced. For the closing words, "As it was in the beginning ...", the powerful and mature sound of Edward Woodhouse's tenor voice made itself known - a voice which would return to the fore several times during the evening.
• The choir then slipped back in time a couple of years, to Purcell's arrival at Westminster Abbey, aged 21. Remember not, Lord, our offences takes the words of Thomas Cranmer and enhances this appeal for clemency with a delightful musical setting. The additional soprano voice introduced by Purcell seemed to be taken up by the countertenors, including James Bowman. The high tenor voices broke through impressively with "Neither take thou vengeance of our sins." The choir's amazing ability to sustain each note in consort was then demonstrated by the words, "but spare us good Lord ..."
• Then followed something much more intricate. The choir members changed places for Purcell's Magnificat and Nunc Dimittis, written for his later work Evening Service in G minor. Emma Perona-Wright and Judith Overcash now took on separate soprano lines, while James Bowman and Anselm Carr-Jones led the respective countertenor parts. Matthew Cann and Julian Rippon, two men used to singing on opposite sides of the Cathedral Choir, divided the bass parts between them. Suddenly only three voices were active. James Bowman joined Julian and Ed for a gentle trio. Then there were two - as Emma and Judith sang in duet. The interplay between the singers was fascinating to watch as the choir took over, before making way for the micro-choir to sing once more. At the very end, Matt Cann's bass voice augmented the doxology, repeating the assertion of divine presence, "is now," three times before, "and ever shall be, world without end." The final, "Amen" got special treatment from the male voice trio of Julian, Edward and James.
• The next item was, surprisingly, not by Henry Purcell. The words of John Donne's A Hymn to God the Father is a piece which was set to music by Purcell's predecessor Pelham Humfrey. Although Humfrey died (aged 27) when Purcell was 15, Purcell was greatly influenced by his work. The Hymn is a solo song for countertenor, and an opportunity for James Bowman to demonstrate his vocal skill. Accompanied by David Davies playing the organ, he sang with his usual volume and precision.
• Just before the interval the choir added a coda to the concert they performed to start the year (The Life and Times of Mary I, 9 Feb 2013). James II was succeeded by his daughter Mary II - Mary I's first cousin (four times removed). Mary II and Henry Purcell were contemporaries. When Mary died, Henry Purcell composed the music for her funeral. The same music was used for Purcell's own funeral only a year later. The opening march involves drums and trumpets - an arrangement that Counterpoint performed about eight years ago. This time, however, the trumpets and other instruments were provided by David Davies playing the Buckfast Abbey organ, and the words were sung a cappella. Initially a male voice trio stood forward to sing, "Man is born of woman, hath but a short time to live, and is full of misery." Three new voices had their chance to shine. Countertenor Anselm Carr-Jones was joined by tenor Michael Graham and bass Philip Arkwright. For the telling line, "In the midst of life we are in death," a fourth angelic voice filled the Abbey with sweet sadness - soprano Josie Walledge. David Acres was using the vocal skills of the choir members to the full.
• After the interval several other voice combinations were introduced. For the setting of Psalm 119, Thy word is a lantern unto my feet, [in the trio verse sections] James Bowman [was joined by] the tenor and bass Michael Graham and Matt Cann respectively.
• In anticipation of St Cecilia's day, which was four weeks away, David Acres had prepared the choir in Purcell's Jubilate in D major (written just before Purcell died). This very complicated choral work was set about once again by David Davies' 'trumpets' from the organ. The first voice was that of James Bowman, "O be joyful in the Lord all ye lands." Later James was joined by soprano Judith Overcash in a beautiful duet, "We are his people and the sheep of his pasture."
• Next an uncompleted fragment from Purcell's first years at Westminster. Hear my prayer O Lord from Psalm 102 was a chance to hear a new and different duet, sopranos Elle Williams and Denise Kehoe.
• Michael Graham and Julian Rippon collaborated in another, very much completed, work from the same period. Jehova quam multi sunt hostes mei? (Jehovah, how many are my enemies?). Michael pronounced the immortal words, "At tu, Jehova, clypeus es circa me" (But you, Jehovah, are a shield around me), while Julian replied with, "Voce mea ad Jehovam clamanti, respondit mihi e monte sanctitatis suae maxime" (As my voice cried to Jehovah, he answered from the mountain of his holiness).
• An evening of Purcell with James Bowman would not be complete without hearing James sing An Evening Hymn, the song with which he closed his farewell performance at Wigmore Hall in 2011. James also sang this song at the ceremony to confer on him the 'Fellowship of the Royal School of Church Music' at Exeter Cathedral the following year. On that occasion he was accompanied by David Davies playing a chamber organ. With David Davies accompanying on the Buckfast Abbey organ, James gave yet another delightful solo performance of this moving and evocative chaconne.
• Finally the choir accompanied James Bowman in another trio performance. This time he was joined by the Abbey Musical Director, Philip Arkwright, singing bass and the tenor voice of Edward Woodhouse.
• With David Davies playing a perfect continuo the evening ended with the rousing Rejoice in the Lord. Those opening words also serve as the final climactic crescendo. An unforgettable ending.
• In its various permutations, the new Counterpoint line-up has lived up to expectations. It was sad not to see or hear several familiar choir members. However, the exquisite results David Acres was able to achieve with just eighteen voices, fully justified the change in approach. Less really can be more! (edited version of review and photos by Luch Càise-Dearg Classical Journey)
• Your decision to reduce the size of the choir came as quite a shock when we first read the news in the summer. I might have know you would know exactly what you were doing! Last night's concert in Buckfast Abbey was stunning. The music was an eye-opener to my wife and I.
• We knew several of Purcell's verse anthems and the Magnificat and Nunc Dimittis but the entire programme was a revelation! I have heard about the Funeral Sentences but have never listened to them. The depth of emotion and feeling you brought out of the choir was, at times, so intense. I lost my Mother last year and I found the piece so poignant and passionate that I welled up and the tears fell from my eyes.
• What can we say about James that I haven't already told you before. I know he is 72 in a few weeks time, but his showmanship and the way he puts a piece over is as riveting as it has always been. I saw him in St John's, Smith Square in London in the early 1980s and he sang the Evening Hymn and also the Pelham Humphrey work and I would say that, for me, time stood still! He was as good last night as he was that night, nigh on 30 years ago. The man is a legend!
• We can't wait for the next concert. (Andrew Prosser)
• An absolutely lovely evening, I loved the concert. James was singing with beauty in fact all the choir were. I was challenged by the weather but was rewarded for my efforts. So glad to be there. Thanking you from my heart and soul. (Eileen Furgerson)
• Thank you so much for the "real thing" tonight; another fabulous concert and of course sublime singing from James Bowman, especially the Evening Hymn, which will certainly live long in the memory. (Nigel Dutt)
• I have not heard quality of singing at this level for many years. I am a retired tenor now but I have been involved with choral singing for over 55 years and I was bowled over by the sheer beauty and delivery of all the pieces.
• Your programme notes were, once again, so important to what we were seeing and listening to - bravo!
• For me, the way the words of each piece were brought to life through the music, this was the true quality of the singing. The Funeral Sentences took on a new meaning for me; Hear my Prayer had a wonderfully controlled crescendo that literally rocked me back in my seat; the perky Jubilate was a sheer delight - and what a find you have in Judith Overcash - pure and with no trace of histrionics!
• As for Mr Bowman, what else is there for me to say about him. I remember well his early days with David Munrow's singers in the early 1970s and what a career he has had. That he is still singing with such power and love of his craft is true testament to his genius. I was quite emotionally overcome as he sang the Pelham Humfrey Hymn to God the Father with such passion.
• Truly a night to remember. (Richard Stephenson)

Saturday 6th July 2013

Mysterium

Counterpoint

with

Divertimento string ensemble

Buckfast Abbey

The annual Counterpoint Bursary Concert for Girl and Boy Choristers at Exeter Cathedral

• Morten Lauridsen – O nata lux
• Eric Whitacre – Lux aurumque
• Ola Gjeilo – Sanctus
• Karl Jenkins – Palladio (Divertimento)
• Morten Lauridsen – O magnum mysterium

Interval

• Graham Keitch – In Memoriam – Ricardus Rex
• Arvo Pärt – Psalom (Divertimento)
• Ola Gjeilo – Sunrise Mass for Strings and Choir
  i. The Spheres (Kyrie)
  ii. Sunrise (Gloria)
  iii. The City (Credo)
  iv. Identity and The Ground (Sanctus, Benedictus and Agnus Dei)

• The scene was set and the capacity audience waited in anticipation; we had come to witness the last concert featuring Counterpoint, in the format that we have come to expect over the last 25 years.
• David Acres, the founder and director of the choir has decided to pursue a more active singing role in his musical life and this was the last ‘big’ concert for this outstanding Devon-based choir.
• David told me that his biggest musical influence has been James Bowman and after a chance meeting some 12 years ago a bond and a musical appreciation between the two men evolved. ‘James will be 72 later this year’, David told me, ‘and he is as fervent and committed to his performing now as he was some 50 years ago. ‘It made me realise’, he continued, ‘that I had not been singing as much as I would have liked to and that I should stop turning down the opportunities to travel and sing the music that I love so much and try and balance my two passions’.
• The first half of the concert included several favourites with the choir’s audience and as the rich passionate tones of Morton Lauridsen’s O nata lux pervaded the cool interior of this beautiful Abbey, one could almost feel the audience relaxing into their seats as Counterpoint’s hushed tones started to build to the inevitable climactic crescendos that would fill the church with the glorious sound that they alone seem capable of.
• Eric Whitaker’s Lux aurumque followed, with its glittering radiance, again interpreted with Counterpoint’s inimitable style, followed by a sonorous Sanctus from Ola Gjeilo.
• Divertimento then performed Palladio by Karl Jenkins and one could see the toes tapping and the heads nodding as Brenda Willoughby led her players through this infectious and jaunty composition.
• Counterpoint then returned to sing Morton Lauridsen’s O magnum mysterium and we were instantly transported to another plane.
• These a cappella works illustrate the very essence of the choir: gently whispered phrases that build and then explode into clear, ringing, earth-shattering chords that hang for an eternity in the astonishing acoustic of Buckfast Abbey.
• A short interval became a long interval, due to the warm summer’s evening and the heavily scented gardens surrounding the building which enticed the audience away from the West Doors. The second half began with a new work by a local composer, Graham Keitch, entitled In Memoriam - Ricardus Rex. Graham lives on Dartmoor and sings in St Michael & All Angels in Exeter and has written many choral pieces. In Memoriam… was composed in memory of Richard III and suited the acoustics of the Abbey ideally. There were gorgeously sustained phrases, some of them tantalisingly unresolved, and the work slotted into the evening’s programme with ease.
• Then followed Arvo Pärt’s lugubrious string piece, Psalom, which meandered around never seeming to decide where it was heading – albeit beautifully played by Divertimento! This was followed by the main work of the night, Ola Gjeilo’s Sunrise Mass. Kyrie ("The Spheres") opens with long held chords alternating between the divided choirs, accompanied by the strings, creating a sonorous, false-relation infused marrying of sounds that was intoxicating to hear. This lead to a strong declamatory motif that rang out passionately, proclaiming the text, "Kyrie eleison, Christe eleison, Kyrie eleison". The pure tone of the sopranos start the Gloria (Sunrise) with a memorable theme that leads to a hauntingly catchy tune that is then taken up by the whole choir.
• The Credo ("The City") started with a stirring, shifting rhythm in the string parts which is then taken up by the tenors and basses. After a slower middle section, the shifting rhythms return with more urgency and the choir and string players were on scintillating form. The last movement, which includes the Sanctus, Benedictus and Agnus Dei ("Identity" and"The Ground"), initially sees a return to the opening bars of the Kyrie and those glorious suspended chords, which then resolve into an unforgettable tune that evokes open plains and azure blue skies. A truly memorable night of music-making – you should have been there! (text and photo from a review written by Mile Bennet, Classical Journey 10.7.13.)
• What a wonderful evening - we're still on a high from an overdose of Lauridsen, Gjeilo and Whitacre. Gorgeous music sung with such spirit and passion. (Maurice Peters)
• I know you're returning to your roots of renaissance and medieval music with the choir but please continue to perform the music of Lauridsen and Whitacre, it is so good to hear new modern composers we would otherwise have missed. Ola Gjeilo was a welcome discovery and my wife and I loved his Sanctus and the combination of the strings and choir in the Sunrise Mass which was thrilling. (Neville Barber)
• We just love you singing Lauridsen and Whitcare - and now Gjeilo. You brought these composers to our attention in the past and this is one of the great things about the choir that we really hope will continue. (Tim and Ann Francis)
• Just one word 'Fabulous'! Well ,a few more then! As always, we love your choir and the music they sing and the obvious joy and passion that they show. The emotion you draw out of them is quite overwhelming at times. (Peter Tancock)

Saturday 9th February 2013

The Life and Times of Queen Mary I (1516–1558)

Buckfast Abbey

Counterpoint performed music by composers alive during the reign of the Queen:

• William Cornysh (1465–1523) – Ave Maria, Mater dei
• William Cornysh (1465–1523) – Ah Robyn, gentle Robyn
• Heinrich Isaac (1445–c.1517) – Virgo prudentissima
• Nicholas Gombert (1495–1556) – Lugebat David Absalon
• Christobal de Morales (1500–1553) – Peccantem me quotidie
• Jacobus Clemens non Papa (1510–1555) – Ego flos campi a 7

Interval

• Robert Parsons (1530–1571) – Ave Maria
• Robert Whyte (1538–1574) – Regina coeli
• Rodrigo de Ceballos (1525–1571) – Gloria from Missa tertii toni
• Thomas Tallis (c.1505–1585) – Loquebantur variis linguis
• Francisco Guerrero (1528–1599) – O Domine Jesu Christe
• Hernando Franco (1532–1585) – Christus factus est
• John Sheppard (c.1515–1558) – In pace, in idipsum
• Thomas Tallis (c.1505–1585) – O Nata Lux

• Counterpoint

  Counterpoint and David Acres

  Counterpoint - heavenly voices

  The audience clearly enjoyed the evening.

  Many more photographs of this concert are available

  Did anyone not know what was happening at Buckfast Abbey this Saturday?
• David Acres' Counterpoint were at the Abbey for a celebration of The Life and Times of Queen Mary I, illustrated by music she would have known.
• While Saturday's audience waited for the concert to begin, they were able to read in their programmes a detailed analysis of Mary's life written by David Acres - plus details of all the composers and the circumstances in which each piece of music was written.
• Armed with that information, the listener was then able to become fully immersed in the culture and sounds of Mary's life (1516-58). An extraordinary period of history, coloured by the magnificent music of the time.
• The concert opened with just a few voices - ringing out from the Chancel of the Abbey. First there as an Ave Maria by William Cornysh (already in circulation when Mary was born) for male voices only. Then Counterpoint countertenor, Frazier McDiarmid, was joined by countertenor Peter Oakley, a choral scholar from King's College Chapel, for Cornysh's lament Ah Robyn, Gentle Robyn. Peter is familiar with the choir, being a former member of Counterpoint and Exeter Cathedral Choir, but showed incredible ability by taking on the second countertenor rôle with only a day's notice.
• For most of the concert the whole choir were at the front of the nave, singing directly to the audience. The combination of sounds was glorious as always. Unlike many choirs, Counterpoint has plenty of men. Five of the eight altos were countertenors. There were eight basses, including Julian Rippon, Michael Vian Clark and Charles Hughes (who has two parts in the forthcoming Pirates of Penzance at the Northcott Theatre in Exeter). There were only six tenors, but an impressive set of voices - including Jason Bomford, Michael Graham, and Edward Woodhouse (who joined Janet Macdonald's Opera Gala at Sidholme last Sunday).
• There were an incredible fourteen sopranos - even though Ann Draisey couldn't make it. Josie Walledge was prominent at the left hand end of the stage and, at the far right, regular contralto Rachel Mitchell had also joined the sopranos.
• The combination of sounds is astounding, and David Acres leads everything beautifully. It is hard to keep track of all the wonderful musical sounds that are being combined and interwoven, and almost overwhelming for the uninitiated.
• Occasionally a single voice would lead into a song. (Excellent tenor openings by Ed Woodhouse and Michael Graham - very brave and stunningly competent.)
• Occasionally David reduced the choir to less than half its full size - making the individual voices shine out, but by no means reducing the quality of the sound.
• Many of the songs were in Latin, evoking the church atmosphere of the reign of Henry VIII (and later Mary herself). David had provided very handy parallel translations in the programme notes, for those who like to know what the words mean. For others it was enough to understand the gist and let the music do the rest.
• The most beautiful of all? - Lugebat David Absalon, by Nicholas Gombert, which was reminiscent of Counterpoint's In Memoriam concert on 11th February 2012 which reproduced the programme of the funeral of Prince Henry, son of James I. On that occasion there were two songs recounting King David's grief at the death of his son Absalom - composed by Robert Ramsay and Thomas Weelkes, nearly half a century after Mary died. This Saturday's earlier version was, if anything, even more beautiful and moving. The latin text was very clear, especially with the help of David Acres' translation in the programme notes.
• The evening of aural enchantment and fascinating historical insights ended with one unscheduled song to return the Abbey to its sacred function. Once more the music was something that would have been familiar to the young Mary Tudor - O Nata Lux by Thomas Tallis.
• A very satisfying evening all round - everyone left uplifted, and supremely grateful to David Acres and his rightly celebrated Counterpoint. (text and photos edited from a review written by Luch Càise-Dearg, Classical Journey 9.2.13.)

Friday 21st December 2012

The Christmas Story - Carol Concert

Chulmleigh Parish Church

Counterpoint performed the majority of their 2012 Christmas CD Gaudete, interspersed with readings.

Programme:

• E'en so Lord Jesus, quickly come
• Quem pastores laudavere
• Ding dong merrily on high
• In dulci jubilo
• There is no rose of such virtue
• Reading
• Lux aurumque
• Infant holy, infant lowly
• The Three Kings
• Lully, lulla, thou little tiny Child

Interval

• The Coventry Carol
• Away in a manger
• The Infant King
• Jesus Christ the apple tree
• Up good Christen folk and listen
• Reading
• Silent night
• I wander as I wonder
• O little one sweet
• Gaudete

• What a huge success last night’s concert proved to be. I didn’t doubt it would be when one knows oneself just how good a choir is, but one always wonders how others will view it!
• So many people complimented me afterwards on such wonderful singing: "its the best choir we have heard in our church" was such a common remark, that I felt very proud of you all.
• You could tell by their manner that everyone had had an exceptional evening, a wonderful way to start their Christmas ... the carols sounded quite breath-taking in the building.
• ... [Counterpoint's] singing is really quite exceptional, they clearly enjoy singing under your direction and their enjoyment as well as professionalism is so evident in their performance. Do tell them when next you gather how VERY much they have been appreciated here and how very grateful we are to them. (Paul Holmes - concert organiser)

Saturday 13th October 2012

An Evening of Handel

with

James Bowman (countertenor)

Counterpoint

Divertimento String Ensemble

David Davies (organ)

at Buckfast Abbey

Programme:

James Bowman

• What though I trace each herb and flower, from Solomon
• As with rosy steps the morn advancing, from Theodora
• O Lord, whose mercies numberless, from Saul
• Father of heaven, from Judas Maccabaeus

Counterpoint

• Messiah – excerpts
• My Heart is Inditing (Coronation Anthem)
• Zadok the Priest

• Counterpoint and Divertimento

  Quartet in My Heart is Inditing. Bass: Julian Rippon tenor: Edward Woodhouse alto: Juliet Curnow soprano: Daisy Walford

  James Bowman "Father of Heaven"

  A fond farewell to alto Juliet Curnow "My Heart is Inditing"

  Although James was undeniably the star of the show, There was also equally stellar choral singing by David Acres' Counterpoint choir. The whole programme was billed as An Evening of Handel. It opened and closed with anthems from Handel's Music for the Coronation of King George II. The main part of the concert was made up of excerpts from Handel's oratorio The Messiah - the perfect complement to James' Handel arias.
• Despite the extensive building work which is going on in the Abbey, involving scaffolding, tarpaulins, and harsh temporary strip lighting, the instrumentalists and singers dazzled the audience with their musical brilliance from the very first note.
• My Heart is Inditing
• The concert began with the sound of the Divertimento string quartet and David Davies playing the organ. The opening instrumental phrases echoed the rhythm of the words My Heart is Inditing while a distinguished figure was seen leaving the bass section on the right of the choir and joining the tenors on the left.
• It was Julian Rippon, who joined tenor Edward Woodhouse, alto Juliet Curnow and soprano Daisy Walford to sing the solo line in four voices. First Julian, then Juliet, sang the opening line before joining in duet. Then suddenly Daisy's soprano voice began the process again, closely followed by Edward's tenor.
• What a start! Those four singers, with their incredibly powerful voices, filled the Abbey with beautiful sound. The full force of the choir then made itself felt, lovingly controlled by musical director, David Acres. The anthem continued through four movements, lasting nearly a quarter hour. During that time all distractions, including dust sheets and strip lights, were forgotten as the sound of the choir commanded everyone's full attention.
• There were no trumpets for the final fanfare - just a jubilant concord of exhilarating sound as the choir sang the words of Isaiah chapter 49 - 'Kings shall be your nursing fathers, and Queens your nursing mothers!'. A thrilling close.
• Solomon and Theodora
• As the choir retired and filed into the benches of the choir-stalls, a familiar figure made his way to the front of the quire - James Bowman. After a brief introduction, with David Davis playing the bass, and the string quartet providing the treble, James sang a beautiful aria from Handel's oratorio Solomon - continuing the theme of Kings.
• James sang Solomon's air from the end of act 1 of Solomon, 'What though I trace each herb and flower', which was sung at the première in 1749 by mezzo soprano Caterina Galli. A 'trouser rôle' sung by a man - and in an exquisite countertenor voice. As clear and as enchanting as ever, James' soft tones, sometimes in duet with Vicky's 'cello, expressed the mood perfectly - all the world's beauty cannot compare with the glory of Jehovah.
• James then moved on to another of Caterina Galli's Handel opera rôles, in Princess Theodora. Theodora's companion Irene sings the now famous aria 'As with rosy steps the morn advancing'. Caterina Galli played Irene in the première of 'Theodora' in 1750. James was as convincing playing Irene as he was playing Solomon. This time the admiration of God's creation being tempered with the defiance of an alternative belief system. Handel - and Caterina Galli herself - would have been impressed by the tenderness and determination of James' delivery.
• The Messiah
• Then followed nine choruses from Handel's 'Messiah', interrupted only by the interval - and a marvellous recitative by tenor Edward Woodhouse, 'All they that see him, laugh him to scorn' which continues 'They shoot out their lips, and shake their heads, saying . . . ', before their final chorus mocking, 'He trusted in God, that he would deliver him.'
• Highlights of the Evening of Handel included Juliet Curnow's alto voice breaking through the bass in 'And He shall purify', amazing tenor singing in 'His yolk is easy', and the inexorable fugue of 'All we like sheep have gone astray' which really made the most of the powerful bass voices. The altos excelled too with the countertenors impressively audible from the second row.
• Saul and Judas Maccabaeus
• After all that excitement Brenda Willoughby muted her violin for something very gentle from James Bowman. In soft plaintive tones James, as the prospective King David, begs that the 'fiend' that has possessed King Saul will be brought under control by God, 'O Lord, whose mercies numberless'. For the reprise of each line he managed to interject a series of grace notes as sweet as birdsong - delighting the audience each time.
• As his parting gift, James sang 'Father of Heaven' from Act III of 'Judas Maccabaeus'. The gentle introduction by the Divertimento quartet gave way to James' exhilaratingly tender appeal to the Hebrew God to look down with blessing on the preparations 'to solomnise the Feast of Lights'. James' exquisitely sweet voice, and delightful diction, were infused with all the passion implied in the momentous story.
• Time stands still, and history is brought close when we hear such beautiful music.
• This was James' last performance of the evening and, seventeen months after his official retirement concert at Wigmore Hall, possibly his last major public performance in Devon. What a perfect choice of music, and what an expressive performance, for such a special moment.
• Hallelujah and Zadok the Priest
• To bring the Abbey back to it's Christian role, and send everyone away with a spring in their step, the Choir then sang three of Handel's best known and most popular choruses - 'Hallelujah' and 'Worthy is the Lamb' from The Messiah, and the anthem Zadok the Priest from the coronation of George II. Always thrilling, these choruses were especially moving when performed by the extraordinary voices of Counterpoint choir under the expressive direction of another countertenor - David Acres.
• The builders' scaffolding might have obscured the beautiful stonework of the Abbey, but it could not detract from the exceptional beauty of the music that Saturday night. During its twenty-five years, Counterpoint has seen many superb vocalists amongst its ranks, and has always been synonymous with glorious music in Devon. The addition of an honoured international opera star - the wonderfully expressive countertenor, James Bowman - made this a truly memorable evening for everyone - 'an Evening of Handel'.
• James Bowman will now be enjoying his well deserved retirement - or might we hear him sing again some time? Juliet Curnow is taking up her new post in Gloucestershire and will not sing with Counterpoint at their forthcoming concerts. It is hard to express the gratitude that is due to Juliet, who has performed so many parts for so many choral societies, orchestras, and individual events.
• And, of course, we look forward to more outstanding choral music from - Counterpoint.
• (Classical Journey – text and photos)

Saturday 7th July 2012

The Journey from Medieval to Renaissance 3

Buckfast Abbey

Counterpoint's third and final concert in the series The Journey from Medieval to Renaissance

Programme:

• St Anselm, Lucca c.1080 – Plainsong: Salve Regina (Hail, holy Queen)
• Magister Petronius, Notre Dame c.1190 – Beata viscera Marie Virginis (Mary's blessed flesh)
• Alfonso X ("El Sabio" – The Wise) Castille c.1260 – Virgen Santa Maria (Holy Virgin Mary)
• York Mystery Plays c.1350 – 2 excerpts
• John Dunstaple, Bedford c.1425 – Quam pulcra es (How beautiful you are)
• Guillaume Dufay, Cambrai c.1460 – Alma redemptoris mater (Saviour's loving mother)
• Josquin des Prez, Rome c.1490 – Ave Maria (Hail Mary)
• John Taverner, Lincolnshire c.1520 – O Christe Jesu, pastor bone (Good shepherd, Jesus)

Interval

• Jacob Clemens non Papa, Belgium c.1530 – Ego Flos Campi (I am the flower of the field)
• Thomas Tallis, London/Canterbury c.1540 – O sacrum convivium (O sacred banquet)
• John Sheppard, London c.1550 – Media Vita (In the midst of life) - a 20 minute epic!
• William Byrd, London c.1575 – Ave verum corpus (Hail true body)
• Orlando Gibbons, London c.1610 – O clap your hands (Psalm 47)

• This Counterpoint concert really was the highlight of the week! A concert in the true 'Classical Journey' tradition. Each piece of glorious choral music succeeded the last by a few decades as we progressed from the eleventh to the sixteenth centuries.
• With the side aisles closed off for some kind of repair work, the audience were restricted to the central nave, while the choir could range freely in the transepts and the quire.
• The opening Salve Regina from c.1020 was delivered with captivating clarity by a very special alto singer – Juliet Curnow. Juliet is a member of Counterpoint Choir, and is well-known throughout the South West for her solo singing.
• Next another alto, Harry Castle, sang the Beata Viscera Marie Virginis. (Imagine for yourself.) Harry has recently risen to prominence – a founder member of our new Exeter choir 'Leofric Consort'.
• To the beat of a tambourine, from choir-member Colin Avery, the whole choir sang the beautiful Virgen Santa Maria by the great Castillian King El Sabio. (It's now the thirteenth century.)
• Then came three York Mystery Plays from the fourteenth century. Josie Walledge's voice – familiar from her many concerts with Laurence Blyth – was joined by another soprano. Mary O'Shea? – not this time. The second voice was an established 'Counterpoint' favourite, Daisy Walford (now an established 'Leofric Consort' favourite!)
• Fifteenth century and another alto performance – by Leofric pianist Frazier MacDiarmid. Quam Pulchra Est. (Did I mention that there was a 'Virgin Mary' theme?), together with Ed Woodhouse and Charlie Hughes.
• Almost the whole Leofric ensemble – alto Harry Castle, tenor Edward Woodhouse and baritone Andrew Henley, joined forces for Guillaume Dufay's great Alma Redemptoris Mater.
• Finally the choir polished off the fifteenth and edged into the sixteenth century with Josquin des Prez' Ave Maria and Taverner's O Christe Jesu, Pastor Bone.
• No great interval entertainments take place at the Abbey. The audience are more than happy to chat amongst themselves while the choir take a short break ...
• Then ... the great Ego Flos Campi (I am the Flower of the Field) by Jacob Clemens ('non Papa') for Seven voices – sopranos Josie Walledge and Mary O'Shea (it was definitely Mary this time!), alto Juliet Curnow, tenors Jason Bomford and Edward Woodhouse, and basses Matt Cann and Michael Vian Clarke. What a combination!
• Having fully justified the price of admission, David Acres and Counterpoint proceeded to give the audience more that they could possibly expect or hope for. After a gentle rendition of Thomas Tallis's O Sacrum Convivium, the choir launched into a twenty minute expedition into John Sheppard's Media Vita (In the midst of life we are in death). So many positive comments from audience members:
• 'We were sent to another (and better) place'.
• 'It was beautiful'.
• 'It flowed in waves that flowed and came back'.
• 'The waves flowed up and over and back'.
• 'The music rose and sank like a ship'.
• 'It was mesmeric'.
• 'It was all-absorbing and all-encompassing'
• 'It was so much more than we expected - more and more!'
• What made it so special was the combination of not four or six, but EIGHT different voices. The altos were constrained to sing abnormally low at times – while the tenors reached to their highest notes. This piece is rarely attempted (because of its complexity), but David Acres and the Counterpoint Choir were the ones to attempt it – a soaring success!
• Almost as a footnote – but quite up to the superlative standard we expect from Counterpoint – the last two pieces brought the audience gently back down to earth. Byrd's Ave Verum Corpus and then ended with a flourish with Gibbons' O Clap Your Hands. After that gentle wind-down, David Acres closed the concert in his traditional way – bringing the Abbey back to its proper purpose as a house of prayer. The choir sang and Jason Bomford's beautiful tenor voice rang out from the second row when he took the solo second verse with another even more familiar song by Orlando Gibbons – Drop, Drop, Slow Tears. What a beautiful end to a very special concert. (Classical Journey – text and photos)

Saturday 19th May 2012

Requiem – Mozart

Lux Aeterna – Lauridsen

Sanctus – Ola Gjeilo

with

David Davies (organ)

at Exeter Cathedral

The Annual Counterpoint Bursary Fund concert for Girl and Boy Choristers.

The concert included the first South-West performance of Sanctus by Ola Gjeilo (Youtube link).

• David Acres conducts Mozart's Requiem Mass in D minor (Photo Daniel Hayward, Classical Journey Four Soloists: Julian Rippon (bass), Edward Woodhouse (tenor), Juliet Curnow (alto), Denise Kehoe (soprano) (Photo Daniel Hayward, Classical Journey)

  There was a very select gathering at Exeter Cathedral on Saturday 19th May for the long-awaited return of David Acres' choir, 'Counterpoint'. With all seats removed from the side-aisles, the choir stood in a loose semi-circle on the stone flags of the transept crossing, facing a capacity audience in the nave.
• High above them, organist David Davies sat at the console of the mighty Loosemoore organ - which has been in operation, with more recent additions, for three and a half centuries. At a pre-arranged signal from David Acres the organ rang out and the great mass began. Sopranos to the left, altos to the right, and tenors and basses behind, the voices combined perfectly.
• First they sang Mozart's great Mass in D minor. In the Introit, one voice soared above the others. Soprano soloist Denise Kehoe. Later she was joined by the familiar and beautiful voices of alto Juliet Curnow, tenor Edward Woodhouse and bass Julian Rippon. A wonderful combination, and a magnificent performance of the mass by the choir.
• After a break the choir returned for two pieces without soloists, Morten Lauridsens's Lux Aeterna and Ola Gjeilo's Sanctus. Two lovely pieces to complete the programme.
• The concert was everything the audience expected, spiritually moving and musically perfect. So many talented singers combining their voices under the gentle and confident guidance of David Acres. David Davies should also get a mention for his perfect organ accompaniment.
• All proceeds went to the bursary fund for young boy and girl choristers at the Cathedral. That investment will ensure that future generations can enjoy choral music of the same high quality as Counterpoint's Mass in D minor. (Classical Journey)
• Just to say that my sister Mary and I enjoyed the Counterpoint concert on Saturday immensely. After the youthful vigour of Mozart it was hugely satisfying to hear the Laurisden and Gjeilo pieces. I found myself homing in on the bass line at one point, wondering how they made some of those chords work! A great accomplishment and a lovely setting in the cathedral. Many thanks for your invitation. I'm glad I was still here in Devon. (Henry Brighouse)
• I didn’t really have a chance to offer my congratulations, once again, on a superb concert. The combination of the Mozart with the two modern composers was inspired and it worked well - there were a number of times that I had tears rolling down my cheeks; always a good sign that the required impact has been achieved! (Richard Cann)
• We really enjoyed the concert last night. Fantastic. Although I love the Mozart Requiem, the contrast with the Lauridsen made me realise that I actually like the latter one better. With the Mozart it's all very exciting but also turbulent, whereas with the Lauridsen it all seems very gentle and full of promise - really the way one hopes to go at the end. (Marieke Biggs)
• Thanks for a great concert this evening. This is the first time I have heard Counterpoint live. Wonderful choir, beautiful interpretation of the Mozart, so familiar yet it always had something new. The new music in the second half was spine tingling, both Gjeilo's Sanctus and Lauridsen's Lux Aeterna - yep - it was a fab gig! (Sarah Pressland)
• Brilliant concert from start to finish. I believe some people stayed at home and watched football instead, how daft is that! (Nigel Dutt)
• We love Mozart's Requiem, with all it's excitement and fire, coupled with it's gentleness and instantly memorable choruses. Your interpretation on Saturday night was full of break-neck speeds and spat out, powerful phrases; coupled with tender moments like smoothly lilting Lacrimosa brought a new and vibrant urgency to the piece. However, the revelation for us both was just how well the Lauridsen Lux aeterna contrasted with this.
• The Mozart's 'fire and brimstone' approach was washed away by the beautifully written and rising lines of the Lauridsen. Here truly is the hope and beauty of God's Kingdom, encapsulated in this stunning tour de force. The sopranos weaving and rising lines almost lifted us heavenwards and the whole choir took us to another place. It was the anniversary of my Father's death last week and this achingly beautiful work brought tears to our eyes and we say to you once again, thank you from the bottom of our hearts for bringing such emotional and exquisite music to us time after time.
• The Gjeilo was a real 'find' and we have already explored several other pieces by him since the night. (Nicholas Tredwell)

Saturday 11th February 2012

In Memoriam: Henry, Prince of Wales (1594-1612)

Buckfast Abbey

The concert traced the short life and times of Henry through music, together with a re-creation of his funeral in Westminster Abbey on 7th December 1612.

Programme:

• Gibbons – Drop, drop slow tears
• Morley – Funeral Sentences 1
• Byrd – Come, to me grief for ever
• Ravenscroft – Remember, O thou man
• Morley – Nolo mortem peccatoris
• Ramsey – When David heard
• Gibbons – O Lord, in the wrath
• Lobo – Versa est in luctum

Interval

• Weelkes – Laboravi in gemitu
• Padilla – Circumdederunt me dolores
• Morley – Funeral Sentences 2
• Weelkes – When David heard
• Byrd – Ave verum
• Byrd – Ne irascaris
• Tomkins – Almighty God, fountain of all goodness
• Final plainsong chant – Out of the deep have I called unto thee, O Lord

• ... Another night to remember from your wonderful choir! This period of music so suits the emotion and character of Counterpoint and Jean and I were so pleased that you re-staged the concert that you originally performed in 2004 - yes, we were one of the people who asked you about re-running it when we saw you last year at the James Bowman concert.
• The choir seemed very well balanced and as I've said on numerous occasions, if there's ever an opening on the Bass line, please let me know! Music of great depth, style and beauty, brought to life by our favourite choir, what more could we ask. (Nicholas and Jean Painter)
• I had been told about your choir, and this concert in particular, by a very dear friend who has recently passed away. She had heard the concert performed in the early 2000s and told us we must come. We are so glad that we did.
• I haven't heard the Morley Funeral Sentences since I was a boy at St Paul's Cathedral - did you know there is a short Third Sentence? This simple yet plaintive music was so beautifully sung, we were both very moved by the emotions it brought to us.
• The differences between the Ramsey, Tomkins and Ramsey When David heard anthems was a masterstroke, showing clearly the different ways the text was set and the way in which those great masters each brought something different to those most moving of words. It was also good to hear the complete Byrd anthem, Ne irascaris and his haunting Come to me grief forever. Thank you. (Peter Mudge)

Celebration Concert Tour, Brittany

October 2011

• Concert at Notre-Dame des Carmes

  • Pont-l’Abbé
  • 28 October

• Concert at Notre-Dame de Locmaria

  • Quimper
  • 29 October

• Mass at Notre-Dame des Carmes

  • Pont-l’Abbé
  • 30 October

• Counterpoint enchants its public
• True to form, the vocal group Counterpoint gave a magnificent concert on Saturday night at the church of Locmaria to a group of connoisseurs!
• 20 years since David Acres' singers first came at Toussaint to present their superb polyphonic music. 20 years also of friendship with Serge Duigou, his wife Annick (there at the beginning of this musical exchange) and a good number of Quimper singers. What is to be admired in the first instance about Counterpoint is the beauty of the voices, the infinite sense of nuance, the colours, the harmonies. David Acres leads his singers down diverse polyphonic routes. To emphasise this, he chooses his programme carefully. He usually mixes up the periods, showing that whenever an Eric Whitacre enters the scene (b. 1970), or a John Tavener (b. 1944) or a Thomas Tallis (b. 1505) the process is the same.
• Counterpoint offers us a logical programme in which the musical works seem to complement each other naturally. Therein lies the power and indeed the charm of listening to Counterpoint.
• The beauty of the music
• Certainly, we almost know by heart the beautiful Sleep by Eric Whitacre, presented in 2007, in 2009 and again this Saturday. But it enchanted us once more. Tavener's Funeral Ikos, which Jef le Penven included in its repertoire after listening to Counterpoint singing it, was once more a huge success. The same goes for the extremely moving Lux Aeterna of Elgar which concluded the programme. The direction of David Acres was equally supple, equally musical - the voices, the harmonies , always beautiful, always subtle. As for the emotion, this was evident more than ever on listening to these singers from Exeter! (Review from Le Telegramme, 2 Nov 2011)
• ... works of art where the word becomes music and the music grips the heart ... the poignant majesty of the moment surpasses the simple religious message and embodies the human quest for emotion ... voices of incredible accuracy (newspaper Ouest France)

Saturday 15th October 2011, 7.30 pm

An evening of rich polyphony and lute songs

with

James Bowman (countertenor)

Dorothy Linell (lute)

Counterpoint

Buckfast Abbey

Programme:

• Lassus - Timor et tremor
• Lauridsen - O nata lux
• Skempton - Ave virgo sanctissima
• Plainchant - Salve Regina (James Bowman)
• Farrant - Hide not thou thy face (James Bowman)
• Campion - Never weather-beaten sail (James Bowman)
• Purcell - Fairest Isle (James Bowman)
• Whitacre - Lux arumque
• Tavener - Funeral Ikos

Interval

• Matthew Cann - I am the true vine (premiere performance of a piece written for Counterpoint)
• de Rore - Parce mihi
• Tallis - O nata lux (James Bowman)
• Ballett - Sweet was the song (James Bowman)
• Dowland - I saw my lady weep (James Bowman)
• Gibbons - Drop, drop slow tears (James Bowman)
• Whitacre - Sleep
• Jackson - The Lord's Prayer
• Kiev Melody - Kontakion
• Elgar (arr. Cameron) - Lux Aeterna (Nimrod)

• James Bowman - what more is there to be said? I understand that he is 70 in November and this seems crazy. His singing and the way in which he illustrates the songs seems undimmed after 50 plus years of singing. We all loved his version of O nata lux by Tallis and of course the Gibbons Drop, drop slow tears, which was exquisite. I do wish we could have a recording of this concert. (Merryn Tasker) (You will be pleased to hear that James and Dorothy have recorded a programme of music that includes both these pieces and also several others from the concert and the CD will be available from the beginning of December 2011 - David)
• Dorothy Linell's Lute 'whispered' with great power(!) around the hallowed walls of Buckfast Abbey and James Bowman's rich and pure tone combined to create another superb evening of music-making at Buckfast Abbey. I particularly liked the opening solo of James's when he sung the plainchant Salve Regina from underneath the Tower - it was a spine-tingling moment. (Ray Pearte)
• An Amazing Concert of Modern and Renaissance Music at Buckfast Abbey Saturday 15 October.
• What a special night for the Counterpoint Choir at Buckfast Abbey on Saturday night. We were possibly seing one of the last appearances here by the great counter-tenor James Bowman. (James' performance of counter-tenor and harpsichord songs by Handel, Purcell etc. at Wigmore Hall in May was his final London performance.) We also heard the very first performance of a new choral work, I am the True Vine, by a local composer, Matthew Cann, who also sang in the choir as a bass.
• A very exciting additional feature on the programme was the lute playing of Dorothy Linell, who accompanied James Bowman in a series of renaissance English songs - a little concert within a concert.
• James and Dorothy complemented each other perfectly, and James' voice was as soft and beautiful as ever. The sweet, and surprisingly audible, sound of Dorothy's lute introduced James' singing, which he began from the back of the quire, before walking forward to stand by Dorothy and sing - magnificently.
• Every song, whether sung by the choir or by James Bowman, was unalloyed bliss. Most moving - and most tragic - was John Tavener's Funeral Ikos, a tender song for the dead which moved many to tears. The tenor and bass opening led into a gorgeous division into two bass lines which then came together - before dividing again - heavenly. The chorus of Alleluia from the sopranos took things to an even higher level of etherial excellence.
• After the interval, conductor David Acres split the choir in a new way. He formed up two mini-choirs to sing two lines each in Matthew Cann's I am the True Vine. What a magnificent choral work that is. The opening lines of the fifteenth chapter of the Christian St John Gospel, "I am the true vine, and my Father is the husbandman," continuing, "As the Father has loved me, so have I loved you."
• The last words of the piece are the same as the first - "I am the true vine" - with the final word "vine" held and overlaid by the words, "says the Lord" with the last word held for a further bar on an exquisite top A. The soloist, who sang that ending so perfectly on Saturday, was Denise Kehoe.
• The judiciously selected words, carefully constructed harmonies, and sublime singing, remind us of the positive potential of sincere faith. Historically, music like Matthew's has always represented the perfect conflation of music and religious faith.
• 'I am the True Vine' by itself was a masterpiece which served as a focus for a supremely inspiring recital. However, Matthew Cann's work was just the beginning of another extraordinary recital of choral music which made up the second half of the concert.
• Eric Whitacre's musical arrangement of Charles Anthony Silvestri's poem, Sleep, beautifully and eerily expressed the sentiments of the words, longing for rest but afraid of darkness and nightmares. A very clever piece beautifully sung.
• John Bowman and Dorothy Linell gave another mini-concert of renaissance music, including songs by John Dowland, Orlando Gibbons and Thomas Tallis. An amazing performance. This time the divided choir were able to range themselves around James and Dorothy and enjoy the songs along with the audience.
• The real marvel of the whole concert must be the final Lux Aerterna by Sir Edward Elgar. The words of the Mass for the Dead set to the tune of Nimrod from the 1899 Enigma Variations. Nimrod is dedicated to Augustus Jaeger, and the opening music is from Beethoven's Pathetique sonata which Elgar and Jaeger had enjoyed and discussed together.
• In eight parts, this choral setting by Elgar is an amazing piece for a choir to sing - and the Counterpoint Choir sang it magnificently - matching, if not excelling, the tenderness and emotion of their performance of Taverner's Funeral Ikos in the first half of the concert.
• (review by PhonicFM)

Saturday 25th June 2011

Requiem for James II (1633-1701)

with

David Davies (organ)

Buckfast Abbey

Programme:

• Purcell – I was glad
• Gibbons – O clap your hands
• Tomkins – O sing unto the Lord
• Melgás – Salve Regina
• de Grigny – Verbum supernum (organ)
• Gibbons – O Lord in the wrath
• Ramsey – How are the mighty fallen
• Padilla – Circumdederunt me Dolores

Interval

• Purcell – Hear my prayer O Lord
• Blow – My days are gone like a shadow
• Charpentier – Messe des Morts

• ...a return to your roots in the first half of the concert last night was most welcome. I have been coming to hear you sing for nigh on 20 years and whilst I am always appreciative and full of praise for all you bring to the local music scene, it is your interpretation of medieval and renaissance music that inspires me the most. The way in which the different voice parts entwine to create such heart-stopping emotions - surely, there can be nothing better in life than hearing Counterpoint at its most passionate best! (Giles Stoppard)
• The first half of the concert last Saturday night was quite simply, perfect! I love the unaccompanied music that you sing and the whole of this part of the programme was filled with little gems. I haven't heard of Melgas before but I thought that the Salve Regina was wonderful. It was also good to hear you singing Charpentier - I have often thought that his Messe de minuit would be an excellent choice for the choir. The soprano duet was quite stunning. (Timothy Rand)

Saturday 9th April 2011

J.S. Bach - St John Passion

with

Mary Bevan (soprano)

Jonathan Peter Kenny (countertenor)

Christopher Watson (Evangelist)

Greg Tassell (tenor)

Stuart Young (Christus/bass arias)

Counterpoint

Divertimento String Ensemble

Exeter Cathedral

• The St John Passion on Saturday was a wonderful occasion. Thank you. One didn't want it to end. Every moment was captivating, and the evangelist particularly memorable, with such a beautiful quality and expressiveness in his voice.
• By the time we arrived there were no programmes left, but that made one listen very attentively, without one's nose in the text. Better really. I managed to pick up a programme that someone had left on a seat, so read your excellent notes. (Frances Nieduszynska)
• I hope you are still wrapped in a cloud of EUPHORIA?! Such was the rapture and acclaim of your enthralled audience and for me the most memorable first experience of attending that sort of complicated but enriching work - truly amazing.
• What it must have taken to rehearse it, especially with London based soloists to consider I cannot imagine but every aspect was total bliss and I do hope the orchestra realised how much we appreciated them when there was so much going on all around them!
• WELL DONE and please thank everyone for my most stunning introduction to this overwhelming genre of choral work, unforgettable! (Sally Sedgeman)
• What can there be left to say? I'm sure you must have been inundated yet again with plaudits after the concert on Saturday which was outstanding in every way. Many, many congratulations, truly, as well as thanks from me for being part of it.
• There were some really shiver-making moments and those long silences the soloists made were absolutely heart-stopping because everything else they did was so excellent. It speaks such volumes that you're able to bring such fabulous soloists and instrumentalists to us each time.
• My lot in the audience were stunned by the quality and I'm sure I can't be alone in having found it a very spiritual experience. How wonderful that there was a good audience to enjoy it all (Susie Howells - Choir-member)
• On Saturday night an Exeter audience enjoyed a very special performance that they had been looking forward to for the past two months. In the perfect setting of Exeter Cathedral, Bach's glorious St John Passion, performed by the Counterpoint Choir and Divertimento Orchestra, was everything we expected - thrilling, emotional and beautiful.
• The opening chorus is always an amazing experience and the choir gave a magnificent performance. After the deceptively gentle opening by Brenda Willoughby's Divertimento ensemble, the opening line exploded with all the intense emotion of Bach's fervent belief in Christian redemption. "Herr unser Herrscher, dessen Ruhm in allen Landen herrlich ist!" ("Lord, our Master, whose glory is unsurpassed in all the world!") Rings in the ears as it is repeated over and over, voice after voice coming in an almost endless fugue. But then it does eventually wind to a natural close - only to begin again from the beginning to amazing effect. The opening chorus alone was utterly breathtaking.
• After a perfect opening the narrative was taken up by the incredibly expressive tenor voice of Christopher Watson. Although the other soloists stood to the front or on staging (even in the pulpit) to sing, Chris sat with the orchestra and stood unobtrusively to sing the words of the St John Gospel. His German was superb and every word crystal clear. Even we lesser mortals, who struggled with school German, could follow him easily. What made this performance doubly impressive was that Chris travelled across country to perform the equally challenging, and totally different, St Matthew Passion the very next night!
• Each aria and chorus was as intensely beautiful as the last. Soprano Mary Bevan took the familiar "Ich folge dir gleichfals mit freudigen Schritten" ("I follow you likewise with joyful steps") to new heights, with celestial flute accompaniment by Melanie Orriss. Greg Tassell initially had only a short line as a 'servant' and it seemed that this would be his only contribution. Not at all! Greg's aria, opening the second half of the performance, was a beautiful demonstration of his youthful tenor voice. Bass Stuart Young, as Christ, was wonderfully restrained, imperious and humble in just the right proportions. He also had a wonderful aria just before the interval - with the delightful addition of very accomplished 'cello pizzicato. And, as we have to come to expect at Counterpoint performances, there was an incredible counter-tenor aria - this time by Jonathan Peter Kenny, a very moving moment.
• As each recitative and aria gave way to the chorus, the Counterpoint choir swept everyone up in the emotion of their singing. It was hard to tell whether they or the audience were more affected. The chorus of rejection, "Kreuzige ihn!" ("Crucify him!"), was as intense as a pistol shot - and almost as devastating! As with the opening, the last words were left to the Chorus: "Herr Jusu Christ, erhore mich, ich will dich preisen ewiglich!" ("Lord Jesus Christ, hear me, I shall praise you eternally!")
• Two months after their wonderful collection of works by Thomas Tallis and William Byrd at Buckfast Abbey on 12 February, Counterpoint have taken music in Devon yet further, bringing their delightful singing talent to the musical genius and spiritual extremes of the music of Johann Sebastian Bach. Many thanks to all concerned, in particular Brenda Willoughby and the Divertimento ensemble, and especially to the founder and conductor of the Counterpoint choir, David Acres. (Luch Càise-Dearg - abridged form of review. www.phonic-fm)

William Byrd (c.1540-1623)

Thomas Tallis (c.1505-1585)

Saturday 12th February 2011

Tallis is dead and music dies

with

David Davies (organ)

Buckfast Abbey

Programme:

• Tallis - O sacrum convivium
• Tallis - Loquebantur variis linguis
• Tallis - O nata lux
• Tallis - Salvator mundi I
• Tallis - Clarifica me Pater (organ)
• Tallis - Ecce tempus idoneum (organ)
• Tallis - The Lamentations of Jeremiah I
• Tallis - Videte miraculum

Interval

• Byrd - Haec Dies
• Byrd - Ne irascaris Domine
• Byrd - Sing joyfully
• Byrd - Ave Verum
• Byrd - Clarifica me Pater (i), (ii) and (iii) (organ)
• Byrd - Kyrie and Gloria from 3-part Mass
• Byrd - Sanctus and Benedictus from 4-part Mass
• Byrd - Agnus Dei from 5-part Mass
• Byrd - Ye sacred muses
• Psalm 130 - Out of the deep (De profundis)
• Funeral Sentences from Book of Common Prayer 1559 (spoken)

• On Saturday night a vast audience converged on Buckfast Abbey in Buckfastleigh, many from considerably further afield than Exeter. The attraction? The long awaited return of David Acres' baroque choral group Counterpoint. The name hints not only at counterpoint, the feature of baroque music involving overlaying very different melodies, but also the beautiful and emotion laden countertenor voice so perfectly suited to the acoustics of ecclesiastic architecture.
• As well as a wealth of a capella vocal music by Thomas Tallis and William Byrd from the choir, David Davies, Organist and Director of the St Peter's Singers at Exeter Cathedral, gave several solo performances on the Buckfast Abbey organ. A great setting and great music - magical! (Luch Càise-Dearg - www.phonic-fm)
• Saturday at Buckfast was an unqualified success. The fact that each item was accompanied by lack of applause, both in the first and second parts was very acceptable and I think that the sequence of movements of the Byrd masses in the order in which they were performed was also an inspired presentation. Your programme notes, as usual, demands that one arrives early to have time to read and digest them, with a further read at leisure after the event!
• The acoustics at Buckfast are excellent for this type of music and I thought that the short 'monastic' finish to the whole programme provided a fitting ending.
• No wonder I come down from Gloucester with regularity to enjoy what you provide. (Richard Cann)
• We were transported to another time and another place on Saturday evening. The depth of emotion and textural colour that the choir brings to everything they sing is simply divine. We adore renaissance music and the evening's programme was pure heaven.
• The blend of voices is exquisite: we were seated half-way back in the main body of the church and the way in which the choir's volume lifted and fell back was almost too emotional to bear. We listen to a lot of choral music and nothing comes even close to a Counterpoint concert when it comes to the depths of emotion and the dovetailing of the four main voice parts - sopranos, altos, tenors and basses.
• I always ask you if you will record your concerts and you say that you prefer the music to be ephemeral: 'you need to be there', you tell me! Well, this has obviously sunk in with your audience as we can't remember there being so many people there on a Saturday night - it must have been a sell-out!
• The Tallis Lamentations I and the Videte miraculum were magical and the part reconstruction of Tallis's funeral at the end was a master-stroke.
• We have already bought our tickets for your performance of Bach's St John Passion and I am anticipating the marvellous opening chorus with unbridled anticipation as I write! (Nicholas Sholto-Douglas)
• It was a pure joy to hear Counterpoint performing music as they used to over 18 years ago, when I first came to hear you.
• I first started singing Tallis and Byrd (If ye love me and Ave verum) over 50 years ago in Leeds and the beauty and style of writing has stayed with me through my life and remains a great source of support and pleasure to my hectic lifestyle! I knew some of the works and there were also new pieces for me to discover and enjoy.
• The tenors and basses in your choir are just perfection, with great rolling depths of passion and fervour. The sopranos and countertenors weave around the texture creating an enchanting and awesome tapestry of sound.
• Counterpoint once again delivered and we went home transported and uplifted to another plain. Thank you, thank you, thank you! (Mary Bearson)
• ...Thank you so much for the wonderful concert last Saturday. The whole programme was stunning from start to finish and I have never heard such a good adult choir; the soprano line was seamless - we couldn't pick out a single voice! And many thanks for the great programme notes too! We both learned so much and have re-read them since. (Maggie Hughes)
• ...How do you do it? I seem to say this after every concert with boring regularity(!) but I leave the church in such a state of euphoria, which doesn't diminish for several days after. I know you have a very good range of voices and I know that most of them are very adept musically - I see several of them frequently with other ensembles and choirs - but you extract a nuance and emotion from the singers that leaves me elated and satisfied in a way that no other choir is able to; and that includes The Sixteen who I heard in London last December!
• It's how you extract the emotion from your choir that I cherish so much. The timeless, hypnotic performance of Tallis's Videte miraculum epitomises this: the rising and falling crescendos and decrescendos; the spot-on speeds and changes in tempo. I felt transported to another place and time.
• Nothing gives me greater satisfaction musically than when I sit 4-5 rows back in Buckfast Abbey and soak up the offerings from your wonderful choir. Bravo! (Simon Haliwell)

Saturday 16th October 2010

Handel in Italy

with

James Bowman (countertenor)

Mary Bevan (soprano)

Counterpoint

Divertimento String Ensemble

Buckfast Abbey

Programme:

• Handel - Cara sposa from Rinaldo (James Bowman)
• Handel - Laudate pueri Dominum HWV 237 (Mary Bevan and Counterpoint)
• Handel - Lascia ch'io piango from Rinaldo (James Bowman)
• Handel - Te decus virgineum from the Carmelite Vespers (James Bowman)
• Handel - Dixit Dominus HWV 232 (James Bowman, Mary Bevan and Counterpoint)
• Burgon - This ean night (James Bowman and Laurence Blyth)

• ...I confess to not being a lover of the countertenor voice but I have to agree that Saturday night's concert in the Abbey has altered my view. When James Bowman sang his first two arias from Handel's Rinaldo, I was mesmerised. The tone and power in his voice was spell-binding. I also have to admit to shedding the odd tear or two during the performance of Lascia ch'io piango. I have heard this aria so many times and it has always been sung by contraltos or sopranos. The control and dynamics of Bowman's voice were staggering...the way he faded the volume to a whisper at the end was simply magical. Thank you once again David for bringing together such a diversity of musicians for our enjoyment - the programme was masterful. (Ron Lewis)
• Mary Bevan and James Bowman complimented each other so well in your concert Handel in Italy last Saturday night in Buckfast Abbey...singers from either ends of their careers, they were matched impeccably. Mary Bevan's articulation and breath-control were wonderful to hear and James Bowman's mastery of the Handelian repertoire was apparent for all to see and hear. There was such an obvious rapport between soloists, choir and orchestra; it was a delight to behold. (Nicholas Tredwell)
• I had eagerly awaited your Handel in Italy concert for several months. Dixit Dominus is one of my favourite Handel works and I had not heard the Laudate pueri Dominum before. I was not disappointed! The Dixit was dramatic and exciting; the soloists were divine; the band was sympathetic and colourful - what a superb evening's entertainment - I am still hearing the exciting Conquasabit movement as I write! (Betty Hubert)
• Mr Bowman must be fast approaching 70 - I first saw him some 50+ years ago! Last night he sounded as fresh and pure of tone as he did all those years ago. The old gentleman next to me and the young couple in front of me were all dabbing their eyes as the last notes of the Lascia ch'io piango died away - along with me also! I have not heard of Mary Bevan before but I thank you for introducing her soaring lines and beauty of tone to me. Her breathing technique was incredible and the projection and power in her voice was incredible. When Josie Walledge from the choir joined her to sing the duet De torrente, it was pure undiluted heaven for me, I could hardly breath! Thank you so much for what you and Counterpoint bring to the West Country. We would be a lot poorer musically if you were not around. (Mary Julian)
• Just wanted to express how extraordinary Saturday nights concert was for us! I was only joking when I said I wanted to sit in front of the conductor but as it turned out that was what happened. To be that close to the conductor, singers and ensemble was a real gift. I think the evening and music will be one of the finest live musical experiences I've been lucky enough to enjoy. To hear the rising and falling of the voices and then that amazing swelling volume that comes from the choir was fantastic. The soloist weren't too shabby either to be fair! Thank you David for a really memorable night and bringing such beautiful music to life in a magical venue. (Simon Moore)
• I am an avid concert-goer. Living in the Home Counties I get the opportunity to see and listen to lot of live music through the year. Last Saturday I was staying with friends at Tavistock and they brought me along to your concert. Counterpoint sang with much style and dynamic control - the sopranos were as good as any of the choirs I have heard over the past 12 months, including The Sixteen, Ex Cathedra and Polyphony. There was such an obvious enjoyment of singing on the singers faces; it was most infectious. The soloists were awesome: Mary Bevan's assured control and ringing clarity and James Bowman's assured mastery of his technique and the wonderful way he communicates his singing to his audience. A pure delight from beginning to end. Please put me on the mailing list. (Richard Atkinson)

Saturday 3rd July 2010

The Coronation of Queen Elizabeth II (2nd June, 1953)

A reconstruction of the Coronation of Queen Elizabeth II

with Exeter Cathedral Choir

Direction by Andrew Millington, Stephen Tanner and David Acres

Paul Morgan (organ)

Exeter Cathedral

Programme:

• Parry - I was Glad (combined choirs)
• Howells - Behold O God our Defender (Counterpoint)
• Harris - Let my Prayer come up (cathedral choir, boys and men)
• Handel - Zadok the Priest (combined choirs)
• Dyson - Confortare (Be strong and of good courage) (Counterpoint)
• Redford/Anon - Rejoice in the Lord Always (cathedral choir, girls and men)
• Wesley - Thou will keep Him in Perfect Peace (cathedral choir, girls and men)
• Byrd - I will not Leave you Comfortless (cathedral choir)
• Gibbons - O Clap Your Hands (cathedral choir, boys and men)
• Vaughan Williams - All People that on Earth do Dwell (combined choirs)
• Vaughan Williams - Creed from the Mass in G Minor (Counterpoint)
• Vaughan Williams - Sanctus from the Mass in G Minor (cathedral choir, boys and men)
• Vaughan Williams - O Tase and See (cathedral choir, girls and men)
• Stanford - Coronation Gloria (cathedral choir)
• Walton - Coronation Te Deum (combined choirs)

• An inspired concept to perform most of the music from The Coronation 57 years after the event, but - Praise God - still relevant today with Her Majesty still on the throne.
• The music chosen was sung by a variety of groups - the Cathedral Boys and Men, the Cathedral Girls and Men, Counterpoint, and a combination of all three choirs. This made for a most satisfying and revealing contrast throughout the evening. The concert was accompanied by film of the actual Coronation Service, with the "Richard Dimbleby" commentary admirably provided by The Precentor.
• The combined forces began with the stirring Parry anthem I was glad, which, together with Handel's Zadok the Priest had been sung at the coronation of her father a quarter of a century earlier. The conductor was Andrew Millington, Cathedral Director of Music.
• This energetic opening was followed by the Introit to the Mass Behold O God our defender by Herbert Howells. Sung by Counterpoint under their conductor David Acres, one's first impression was of the beautifully serene blend of this chamber choir, with a clarity, especially in the top line, which was simply mesmerising. Such a contrast set the tone for the whole evening.
• The Gradual of the Mass Let my prayer come up into thy presence by Sir William Harris was then sung by the boys and men of the Cathedral Choir. The Credo of the Mass proper - from Vaughan Williams' Mass in G minor - was sung by Counterpoint. This work was written for Westminster Cathedral in 1922, and is still as fresh and archetypically English today as when it was written. For double choir with a quartet of soloists, this was serenely sung, and there were special moments of pianissimo, as in the incarnatus section, which made one's heart stop.
• By contrast Handel's uplifting Zadok the Priest followed, reminding us of the anointing of King Solomon. This is something of a war-horse on royal occasions, and is so often performed that it might become hackneyed. The main reason for such a reaction is the tempo. Andante maestoso is Handel's marking, and this evening that was observed to the letter by Acres: a wonderfully grand and steady speed of the introductory 22 bars from Paul Morgan at the organ provided a sense of awe and anticipation all too often missed. When the choirs did eventually burst in with their exuberant opening syllable - without one has to say any elaborate gesture from the Conductor - it was a breath-taking moment, and almost a surprise despite its familiarity!
• Then followed a commission for the Coronation - George Dyson's Confortare, sung at the moment of the crowning.
• At the coronation, the Homage of all present in Westminster Abbey was accompanied by the singing of five anthems, four of which were sung here by the Cathedral choirs, two before the interval and two at the start of the second half. The 16th century Rejoice in the Lord alway (attributed to John Redford), and the glorious contrapuntal double-choir O clap your hands together by Orlando Gibbons closed the first part, and to open Part II William Byrd's Non vos relinquam orphanos and SS Wesley's Thou wilt keep him in perfect peace.
• As at the coronation itself everyone then sang the Offertory hymn All people that on earth do dwell, to the tune The Old Hundredth in the specially arranged version for the occasion by Vaughan Williams.
• The Sanctus from the G minor Mass then followed, beautifully sung by the boys and men of the Cathedral choir. Sadly the Communion motet, again specially commissioned for the 1953 service, O taste and see, was disappointingly sung by the girls and men: overfast, relentless and largely wordless.
• But the glories of the evening were still to come: Stanford's Gloria in excelsis, from his full set of B flat canticles, composed in 1911, and to conclude, the exhilarating Te Deum laudamus, composed especially in 1953 by William Walton.
• This was a thrilling evening, with some truly spectacular sounds, and also, more movingly, some truly serene moments. (Geoffrey Mitchell)

Saturday 26th June 2010

Requiem for Florence Nightingale (1820-1910)

Commemorating the centenary of Florence Nightingale's death

Paul Morgan – organ

Buckfast Abbey

Programme:

• Fauré - Requiem
• Bruckner - Os Justi
• Wesley - The Wilderness
• Parry - I was Glad
• Pearsall - Tu es Petrus
• Mendelssohn - Hear My Prayer

• This must be one of the very best Counterpoint concerts that I have been to. The idea of conceiving a concert around a character or period from the past is not new to your audience but the combination of Florence Nightingale and her wonderful life and service, coupled with those marvellous readings and emotional musical compositions was a worthy achievement.
• ...I have lost count how many times I have heard Fauré's Requiem over the years but I want to tell you that Counterpoint's performance will live in my memory for ever. The way in which the choir moved with ease between the pianissimo sections and the fortissimo sections was stunning to hear and the soloists were of the very highest quality.
• This was a highlight for me as was the first reading, followed by Hear My Prayer. The reading was most touching and enhanced your interesting programme notes and by the beginning of O for the Wings of a Dove, I was looking through a haze of emotional tears. A complete triumph. Well done to you all. (Michael Rybourne)
• I think you enabled us to sing in a way which we have rarely managed before! Despite our numbers, we DID achieve those sudden and electric "pianos" and you had us eating out of your hand, from teenagers to "grumpy" oldies!! Not that I heard ANY grumps at all.
• I imagine Florence N. will be inextricably linked from now on in peoples' minds with Faure's Requiem and Hear my Prayer, to the advantage of both the pieces and the amazing lady. I have not had chance to read the programme yet, but look forward to doing so. The readings were excellent. (Stella Westwell - Choir Member)
• Yet another splendid concert at Buckfast - a lovely selection of music, and I found The Funeral reading most absorbing. How lovely to hear Paul Morgan on the organ - fascinating to watch him at work from up in the Gallery, look forward to hearing him again I hope now that he is 'so-called' retired.
• As I have just booked a train trip entitled 'The Crimean Trip' for late April 2011, travelling from St Petersburg down to Yalta, the excellent history contained in the programme seems even more pertinent. I hope that you realize how much many of the audience value the wonderful contents of these programmes, and that we do appreciate how much effort goes into them - they are a history lesson in themselves. Many thanks. (Joy Winzer)
• As I stood at the back of the church on my way out, at the end of your beautiful concert in Buckfast Abbey on Saturday, I heard virtually everyone who passed me eulogising on the superb performance we had all just witnessed. I felt lifted up onto a spiritual plain that elevated me high above the drudgery of the day I had just been through!
• I can't really express in words how important the choir and your concerts are to me and Jane. On most occasions we feel emotionally drained at the end of the night and your recent inclusion of the gentle parting song really helps to ease us back into reality.
• We haven't missed a concert now for twelve years and Counterpoint's Buckfast performances are the highlight of our musical year. (Graham and Jane Sharpe)

Saturday 15th May 20100

The Coronation of King George II, 1727

A staged reconstruction

Exeter Cathedral

Programme:

• William Child - O Lord, grant the king a long life
• George Frideric Handel - A Grand Instrumental Procession
• Henry Purcell - I was glad when they said unto me
• George Frideric Handel - Coronation Anthem: Let thy hand be strengthened, HWV259
• Thomas Tallis - The Five-Part Litany
• John Farmer - Come Holy Ghost
• George Frideric Handel - Coronation Anthem: Zadok the Priest, HWV258
• John Blow - Behold, O God our defender
• George Frideric Handel - Coronation Anthem: The King Shall Rejoice, HWV260
• Orlando Gibbons - Te deum, from The Short Service
• George Frideric Handel - Coronation Anthem: My heart is inditing, HWV261

• I have seen the Coronation of King George II in concert on two occasions prior to our visit to the Cathedral on Saturday 16th May. Both times it was the Kings Consort and the main difference between your performance and the TKC was the way in which you vividly brought the occasion to life. My husband and I could both imagine what it might have been like to have been there on that glorious day in 1727. The combination of a spoken commentary, coupled with your use of almost every nook and cranny in the Cathedral, created an unique atmosphere that proved a winning combination. The choir sang with sensitivity and fervour and we still find ourselves talking about the evening now, over two weeks later! (Vicky and Michael Eaves)
• Thanks for a lovely concert on Saturday. We thoroughly enjoyed every aspect of it from the narration to the trumpets and drums and, of course, the quality singing which is the hallmark of Counterpoint. We have actually not been to one of your concerts in the Cathedral, normally taking our musical pleasures at Buckfast, but I shall have to make a greater effort to come to Exeter in future since the grandeur of the setting gives everything an extra dimension. Concerts for the year are booked into the diary. (Angela and Alan Cooksley)
• Saturday evening's concert was superb in every way. I have always admired your attention to detail, none more so than this performance - I felt I was there in the Abbey! Your programme notes and the narration by Ken Parry were superb. An evening which will remain in my memory for a very long time. (Malcolm Pomeroy)

Saturday 6th February 2010

The Life and Times of Queen Elizabeth of York, wife to King Henry VII (1466-1503)

Buckfast Abbey

Programme:

• Kyrie - Antoine Brumel (c.1460-c.1520) from Missa Et ecce terrae motus (the Earthquake Mass)
• Gloria - Antoine Brumel (c.1460-1520) from Missa Et ecce terrae motus (the Earthquake Mass)
• Ah, Robyn - William Cornysh (1465-1523)
• Virgo prudentissima - Heinrich Isaac (c.1450-1517)
• Je ne puis vivre ainsy - Antoine Busnois (1430-1492)
• Pourquoi non - Pierre de la Rue (1469-1518)
• Tota pulchra es - John Plummer (c.1410-1484)
• Sanctus and Benedictus - Antoine Brumel (c.1460-c.1520) from Missa Et ecce terrae motus (the Earthquake Mass)
• Parce mihi - Jacob Obrecht (1450-1505)
• Kyrie from Missa L'homme armé - Johannes Ockeghem (1420-1497)
• Ave Maria Mater Dei - William Cornysh (1465-1523)
• Agnus Dei - Antoine Brumel (c.1460-1520) from Missa Et ecce terrae motus (the Earthquake Mass)

• Once again we feel we must make contact to express our gratitude to you and Counterpoint for the wonderful concert on Saturday evening in Buckfast Abbey. The most important thing you have done for Wendy and I is to open our ears and minds to so many new and wonderful composers. Over the years you and the choir have helped us discover a new world of music that we could never have come across without your invaluable contribution to the Devon music-scene.
• Antoine Brumel was a name I had not come across until last night but what a revelation? The beauty and power of the composition was electrifying and we were both left marvelling at how such music could have been conceived and then written down for eternity in the late 1400s.
• The Isaac was very exciting and we thought the small group pieces were a masterstroke. (Eric and Wendy Hampshire)
• ... What a wonderful piece of music the Brumel Earthquake Mass is – 12 voices all singing at one time to create a huge wall of sound. Brumel would give composers of the 21st century a good run for their money! (Mike Gundry)
• ... and then there was the Isaac motet, Virgo prudentissima. I first heard you sing this nigh-on 15 years ago! It was full of rhythm and vitality. We both thought that this was one of the highlights of your wonderful concert on 6th February. (Paul Tait)
• ... The older, small group works were my favourite part of the evening. Busnois, Obrecht, Plummer and Ockeghem – where do you find all this long-forgotten composers? Thank you for bringing them to my attention. Thank you also for singing in the Cornysh motet yourself, David – I think the last time Dora and I heard you singing with Counterpoint was the same work in the early 1990s! (Ralph Dawson)
• We were so excited to be able to hear the Earthquake Mass, live. We have two versions of it on CD but never thought we would get the opportunity to hear it sung live by Counterpoint. What a feast of sounds – it reminded me, in parts, very much of Spem in alium by Thomas Tallis. (Tom Hook)

October 2009

Tour of Brittany

Included a concert at Locmaria Church, 24th October

• The Reproaches - John Sanders (1933-2004)
• Sleep - Eric Whitacre (b.1970)
• Haec Dies - William Byrd (1543-1623)
• In spiritu humilitatis - Giovanni Croce (1557-1609)
• Circumdederunt me dolores - Padilla (c.1590-1664)
• Miserere mei, Deus - Gregorio Allegri (1582-1652)
• Latin Magnificat for 2 choirs - Sir Charles Villiers Stanford (1852-1924)
• Water Night - Eric Whitacre (b.1970)
• Versa est in luctum - Alonso Lobo (c.1555-1617)
• Ave Maria - Robert Parsons (d.1570)
• Os justi - Anton Bruckner (1824-1896)
• Vox dicentis: Clama - Edward Naylor (1867-1934)

Review from Le Telegramme 26 October 2009

• Once again, the public flocked to the church of Locmaria on Saturday evening to hear Counterpoint, the vocal ensemble directed by David Acres. Since 1991, these singers from Exeter have been visiting Brittany every two years, entertaining their many singing friends. This was the case on Saturday.
• The ‘speciality’ of this choir, composed of semi professional singers, is its colour. Piece after piece, the celestial voices of the sopranos soared above the deeper timbre of the gentlemen, each moment most moving.
• Counterpoint also possesses the art of nuance at a very high level. Thus the very beautiful Sleep by the modern composer Whitacre was a true marvel. The voices begin quietly, as in a gentle lullaby, then little by little the radiance shines more loudly to finish once again as a lullaby.
• In the second part of the programme, the choir performed their interpretation of Water Night, another piece by Whitacre which was equally wonderful.
• Meanwhile, the famous Miserere of Allegri resounded beneath the Norman vaulting. Skilfully distributed in different parts of the building, the main choir and the quartet responded to each other and played with the polyphony.
• These beautiful voices were again united through performances of other pieces written by composers such as Padilla, Lobo and Parsons, again filled with shimmering light and shade.
• Os Justi by Bruckner had a joyous, seductive style and the Vox Dicentis by Naylor concluded the programme magnificently.
• An encore, by Elgar, another favourite composer of David Acres and his singers placed the final note on this very beautiful concert.

Saturday 10th October 2009

A Banquet of Voices

Buckfast Abbey

with

James Bowman (countertenor)

Dorothy Linell (lute)

Many highly praising comments were received. Here are just three:

• I don't usually write to let my feelings be known but in this instance I am making the exception. The concert last night in Buckfast Abbey with James Bowman and Counterpoint was quite superb. The excitement was tangible and the beauty and blend of your choir must be the envy of all other choir members who come to hear you. You were able to draw out of your singers huge depths of pathos that was ravishing to hear. I have not heard James Bowman sing publically before and I found it a profound and moving experience. My wife's sister told me he must be 65 and I find it incredible that he is able to sing with such authority and beauty. Marvellous!
• Please make sure that you keep me informed of your future productions. (Edward Gower)
• I have been coming to hear your wonderful choir for over 15 years. What I love about Counterpoint is that I never leave a performance without feeling moved and elated. Saturday 10th October was a remarkable achievement. I love James Bowman's voice and being based in Kingsbridge, now in my retirement, I do not get the opportunity to venture too far afield to hear soloists of Mr Bowman's calibre. I was deeply moved by his performance and in particular the Dowland song, Time stands still. Drop, drop slow tears by Orlando Gibbons was a pure delight.
• I was most impressed by the Whitacre pieces and I thought the Stanford double choir Latin Magnificat was fantastic. The acoustics of the building are just right for these dramatic works and the Allegri Miserere was stunning; I loved the staging of this with the verse soloist really excelling on those fantastic soaring top Cs.
• I hope the tour of Brittany goes well. I have spoken to my friends, the Dawsons, who live in Concarneau and told then that they must come and see Counterpoint when you're over there. (Calvin Frobisher)
• ...The contrasts between James Bowman and the choir couldn't have been more dramatic. The power and resonance of his voice have not been dimmed by time and my wife and I were in unison with the sentiments to be found in the words of Drop, drop slow tears - blinking back our own tears as James sung so beautifully! Our musical calendar would not be complete without our tri-annual visit to Buckfast Abbey to hear Counterpoint sing. (Barry & Yvonne Yeats)

Saturday 4th July 2009

The Glories of Venice II

Buckfast Abbey

with

The Counterpoint Brass Ensemble

Comments received:

• "Aren't Counterpoint absolutely superb!" my friend remarked to me as we left Buckfast Abbey last Saturday, heavenly music still ringing in our ears. And there is no doubt - they absolutely are, superb! The experiment paid off, the audience were thrilled, we are all hoping for more - and actually already looking forward to the Cathedral concert in May 2010 with the choir and the Counterpoint Brass players!
• The Glories of Venice was something completely different from the previous musicfests delivered by this talented and brilliantly-directed choir. The choice of programme which was comprised of compositions by Gabrieli, Croce, Monteverdi, Ugolini and Merulo was not only exciting but for some of us a welcome introduction to a new musical sound. Buckfast Abbey is a wonderful venue for these musical experiences anyway - but for this combination of brass and choral music it was quite stunning. The audience applauded until every last member of the group was out of sight and didn't seem to want to stop!
• Once again we say "thank you" to Counterpoint and director David Acres for giving us a joyful evening which was both soothing and uplifting! See you, everyone - at Buckfast Abbey on Saturday 10th October, for A Banquet of Voices with James Bowman! (Annette van Oppen)
• Just a line to congratulate you on last week's Buckfast Abbey concert. It really was a very exciting concert, made more so by the clever use of the building in performance. Gabrieli's Exaudi me Domine was so dramatic an opening half way down the Quire, allowing full resonance of the building and the contrast with Ugolini's Quae est ista couldn't have been greater. I'm not sure we would have heard the 'rippling' entries had you used the brass as well, as originally planned?
• The whole evening was electric ... much enhanced by the splendid brass. Well done! (Paul Homes)

Saturday 16th May 2009

Messiah - Handel

Commemorating the 250th anniversary of Handel's death in 1759

Exeter Cathedral

with

Mary Bevan (soprano)

David Martin (countertenor)

Thomas Hobbs (tenor)

Stuart Young (bass)

Comments received:

• After the last breath of music had died away, I got the feeling that every single person in the audience would like to have been able to personally thank every single musician for tonight's glorious performance of Handel's Messiah at Exeter Cathedral. Many people were moved to tears at times and everyone was exclaiming - even during the interval - that this was a marvellous musical experience.
• Of all the productions of this work that I have heard, this one was the most magical, showed the most musical talent and will remain in my memory for evermore.
• You drew every last drop of musicianship out of your people and the result was moments of exciting drama as well as perfect harmony. The relationship between the gifted and enthusiastic choral and solo singers and the superbly talented members of Divertimento was remarkable - and it was absolutely obvious that this was inspired by your leadership and passion for musical presentation of quality. You also demonstrated that bigger is not always better - in fact, in this instance, quality was far better than quantity!
• This last was also exemplified by your excellent programme notes.
• I am sure that I speak for everyone when I say thank you all so much! (Annette van Oppen)
• Thank you for inviting me to come and sing, I really enjoyed myself. The cathedral is beautiful and a pleasure to sing in, but mainly I enjoyed listening to the choir. They sang so musically and made sense of the words in a way you don't hear often with choirs! They obviously know you and understand your direction very well. The band were also a pleasure to sing with - responsive and sensitive.
• I know what you mean about the Messiah coming across as a story. It is just that, so when it's performed sensitively I think it really works. It would be the same with the St John and St Mathew Passions, which I expect your group would do very well.
• Do please ask me back in the future - I would love to sing for you again.
• Thanks again,
• Mary (Mary Bevan, the soprano soloist)
• Rosemary and I just wanted to say how very much we enjoyed Counterpoint's performance of Handel's Messiah. It was a truly wonderful evening. We certainly had one of the best positions in the Cathedral and it was thrilling to hear the soloists and choir at close quarters!
• We were both very moved by the performance. The Messiah is undoubtedly one of the most performed (and the most cherished) of Handel's oratorios and yet we both agreed that last night's performance came over with a freshness in both interpretation and meaning, and we can honestly say that when the tenor Thomas Hobbs took his place and started singing the first recitative 'Comfort ye my people', we both felt near to tears. He is blessed with such a wonderful voice, rich in clarity and expression, and it was a joy to listen to him. We were equally enthralled by the other young soloists all of whom are, we are sure, on the verge of promising careers.
• The accompanying musicians were excellent and it was lovely to be able to see and hear them perform so clearly. I was impressed by the double-bass player who worked hard all evening and really made her instrument sing!
• We thought Counterpoint delivered a beautifully balanced sound for the choral sections and the Hallelujah Chorus and Amen Chorus will echo in our hearts and minds for many years to come! It was truly a memorable evening and you, as Musical Director, and the choir are a great asset to Exeter's musical heritage.
• On a final note we are so pleased that Counterpoint has generously undertaken to stage a concert each year in May to assist directly with the welfare and scholarships of the Boy and Girl Choristers. We are strong supporters of the Choral tradition at the Cathedral and fully agree with your heartfelt sentiments expressed in the programme notes concerning the need to protect that tradition for generations to come. We are more than happy to support you in any way we can and we look forward to coming to many more concerts in the future. (Adrian and Rosemary Francis)
• ...what a triumph the concert on Saturday was!!!!!
• Well done, all of you, on a truly magnificent performance. I think you surpassed yourselves and do so hope you all felt the same. Everyone seemed to be really enjoying themselves!
• You seem to make light work of conducting such a mighty piece - how do you do it?! you are obviously an inspiration to the choir. I do very much like watching conductors - so many different styles.
• The soloists were just superb, as usual, but these were quite special, just perfect for the work and all had such wonderful delivery. And how special that the three men had such personal connections! ...It will be interesting to follow the progress of Mary Bevan as she moves further into her career - she really was quite lovely to watch and hear.
• We were quite moved by your comments regarding the Cathedral Choir and School in the programme - a heartfelt message.
• Thank you so much, for a truly lovely evening. We look forward to the next concert. (Mary)

Saturday 7th February 2009

The Life and Times of King Philip II of Spain, 1527-1598

Buckfast Abbey

Comments received:

• My daughter and I had the very great pleasure of attending your recent concert at the Abbey (7th February 2009). It truly was an evening of sublime music making that we are still coming down from. I also have to say that your ending to the concert was inspired making a very fitting and dignified finale. (Paul Martin)
• What a wonderful evening we had at Buckfast Abbey yesterday...
• The setting in the Abbey was superb and we thought the programme you compiled around the life and times of King Philip II of Spain was a wonderful blend of some of the finest music of the sixteenth century as well as being an informative and interesting history lesson! We are both very keen on early choral music and wish we had become acquainted with Counterpoint at an earlier time. It was good to hear works by some of the lesser-known composers - Rosemary was taken by the Ave Maria by Robert Parsons and I particularly enjoyed the last two pieces by Padilla and Lobo, both of which were very moving.
• We were very impressed with the wonderful blend of voices and the dynamics of the choir, altogether very pleasing to the ear and the soul! It was a delight to sit there in the beautiful setting of the Abbey and to allow the music to transport us to a different world and to another time in history - and yet I think the music has lost none of its resonance in today's world.
• We are already looking forward to your concert in May at Exeter Cathedral and will keep our eyes open for future events. If possible, could you please include us on your e-mailing list? (Adrian and Rosemary Francis)
• David Acres brought the Counterpoint choir to perfection for Saturday evening's performance of music composed during the reign of Philip II of Spain. Wave after wave of glorious sound washed over us and echoed around the wonderful venue of Buckfast Abbey, giving us comfort, joy and pure pleasure.
• The way the choir chose to end the performance by singing Remember, O Thou Man as the parting song as they slowly moved out of the choirstalls, enabled us to depart from the Abbey respectfully and with the haunting sounds of this marvellous choir remaining in our minds for the journey home and beyond.
• Congratulations to everyone involved and especially those members who were caught out by the snow on Telegraph Hill, while wending their way home after a rehearsal during the week. (Annette van Oppen)
• I wanted to pass on how much Sue and her friend enjoyed the Philip II of Spain concert. They found it electrifying, with the Padilla, Byrd, Parsons and Guerrero from the first half and all the second half getting particularly favourable mention. Best of all - and I'm sure you'll get other people's similar opinion - the Ravenscroft at the end was spellbinding. It left the Abbey hushed at the end, with people too stunned to talk in anything but appreciative whispers.
• After his first concert with Counterpoint in the Cathedral in 2004, James Bowman made the comment that the piece he had most enjoyed was the Gibbon's Drop, drop slow tears: a similar example of how potent a simply constructed work can be in comparison to what has gone before.
• Another observation from the audience was that the balance seemed better with the choir in the stalls. (Stephen Block - a choir member)

Friday 7th November 2008

Appearing with the folk group Show of Hands

Exeter Cathedral

Comments forwarded to us from the Show of Hands manager:

• Please could you pass on our sincere thanks to Show Of Hands for the most beautiful evening at the Exeter Cathedral last night, we didn't want the evening to end. A fabulous atmosphere with the sound and lighting absolutely perfect together. Thank you for introducing us to music of the Counterpoint choir, they made the night very special. The four songs chosen for Remembrance Day was very moving and Nimrod sung by the choir brought a few tears to the eyes. We shall be enjoying this evening for a very long time. (Kaye)
• 'For sheer atmosphere, that can only be matched by the Albert Hall! Really beautiful...thank you so much to everyone involved...'
• 'Well if Topsham was stunning, Exeter was doubly so - the choir, the acoustics and the lighting were magical, Steve, Phil and Miranda weren't bad either!'
• '...the inclusion of the choir's Lux aeterna (taken from the Latin words to the Requiem service) was a masterstroke, being placed after the Somme medley - it had my wife and I in tears!. It was a wonderful evening of music and atmosphere.'

Saturday 18th October 2008

Lux aeterna

A concert to commemorate the 50th Anniversary of the death of Ralph Vaughan Williams (1872-1958)

Buckfast Abbey

with

James Bowman (countertenor)

The Divertimento String Ensemble

Comments received:

• What a 'transport of delight'. We had decided to stay put over the weekend of 18th/19th October and have a lazy time at home but friends from Brixham in Torbay persuaded us to stay with them over the period and we found our way to Buckfast Abbey, by chance, on Saturday evening. Your concert that evening was superb. I have not heard the Vaughan Williams Mass in G minor since I sung it in my early 20s in London. Your performance was electrifying and we were on the edge of our seats with anticipation. The Lauridsen and Whitacre were exquisite: the structure and quality of the Whitacre and the uplifting and exultant melody of the Lauridsen were extremely well realised. (Michael Eastward)
• This is the third time I have seen James Bowman in Buckfast Abbey with Counterpoint and I was so pleased I came to hear you all. I first heard James Bowman sing in Oxford nigh on forty years ago but in the singing of Linden Lea, those forty years just seemed to melt away! The choir's interpretation of the Vaughan Williams Mass and the American composers' works were excellent and I can still hear several of the tunes playing in my head. (Derek Le Grys)
• I just had to write to congratulate you for the concert you gave yesterday evening. It was a wonderful programme of music and the performance was at times deeply moving. The Whitacre (who I'd not heard of before) was sublime. I look forward to hearing you again. (Lawrence Kelson)
• I've been meaning to email you to say thank you for making that wonderful concert possible. All the people I got tickets for were absolutely blown over. And yes, most of them mentioned the Whitacre and Lauridsen, particularly... oh, and the VW. During the interval, my father-in-law said to me, "Of all the concerts we could have gone to, we were just saying this is the best one." I think they were very surprised, as they are not fond of modern music. And of course, neither am I... BUT as a 'strictly' renaissance girl, I, personally, was amazed at what a good and fulfilling concert it was to perform in. Lauridsen and Whitacre are now high on my list of good guys! (Nini Davies - soprano in Counterpoint)
• The Counterpoint concert on 18th October was, arguably, the best ever. My brother, at one stage, started thumping on the front pew and shouting 'more' to James Bowman - not refined behaviour but just about sums it up, I think. (Dr Roger Onyett)

Saturday 17th May 2008

Masters of the Baroque

Exeter Cathedral

with

Michael Chance (countertenor)

The Divertimento String Ensemble

Andrew Millington (organ)

George Pratt (harpsichord)

Richard Pratt (trumpet)

Comments received from the audience:

• What a revelation the Bach Chorales were. I know Bach's main three Passions well and I would offer the choir full marks for their interpretation of these three beautiful works. To illicit such emotion and tenderness from short and seemingly ephemeral compositions is the true mark of a choir's ability. I also loved the style and panache to be found in the Ugolini and Caldara. (Tom Evans)
• Thank you for bringing Michael Chance to Exeter Cathedral. I haven't heard Michael since the late 1990s and strangely enough that was also a performance of Vivaldi's Nisi Dominus. The quite breathtaking delivery in the slow section drew the audience into his inner-space and left us all quite drained.
• I particularly liked the Gloria. The speeds were timed to perfection and the combination of choir, soloists and string ensemble was a real triumph. This was the first time we have come to a Counterpoint concert but I know it will not be the last.
• What my wife wants to know is, 'how come we live in Exeter but have not read anything about you over the past 20 years?' (Stanley Heard)
• Only in this cathedral, with this choral group under this musical Director, on this day [the writer's highlights] - could such heavenly music have been created for the enchantment of the listeners. The extraordinary voice and breath control of Michael Chance singing For so he giveth his beloved sleep [from Vivaldi's Nisi Dominus] took us on to another plane and the choir produced what was probably their finest rendition of the Matthew Passion Chorale No 15 by Bach - Receive me, my Redeemer. It was simply divine. The musical direction of David Acres made its magic once again and everyone left the Cathedral uplifted. (Annette van Oppen)

Saturday 8th March 2008

Requiem for Mary Queen of Scots

Buckfast Abbey

Comments received from the audience:

• Yet another unforgettable evening given by Counterpoint. The two tours de force renditions in the first half of Victoria's Ave Maria and de Rore's Parce Mihi, Domine certainly took this listener to another plane. Also a very interesting episode of comparison with the works of Tallis and Cavazzoni. The second half's thread of Victoria's Requiem throughout gave a nice ebb and flow to the performance while Gabrielli's Ricerare brought out the sunny side of organ recital and shows that walking in this era of composition, you can turn a corner and find a gem. Not the first time David Acres and Counterpoint have done this. The masterful Tallis' In Manus Tuas completed a most enjoyable experience. (Michael Brech)
• Those who were lucky enough to be at Buckfast Abbey on the evening of Saturday, 8 March, had the sombre but nevertheless uplifting experience of Counterpoint fulfilling a challenging and extensive programme of simply beautiful music comemmorating the sad but extraordinary life of Mary, Queen of Scots.
• This "chamber choir" responds to an outstanding Director in David Acres and when he asks them for it, they give it - "in spades" - to the great joy of their devotees, who are evermore thrilled and delighted by what can only be described as a unique experience.
• Whoever said it was correct - to hear Counterpoint perform is a "fix" worth travelling miles through the rain for - and many people do just that! (Annette van Oppen)