Voices of Birds

Part of the 2002 Spitalfields Festival

Howells: The summer is coming
Robin Holloway: Voices of birds
Stanford: The blue bird
Elizabeth Maconchy: The hen and the carp
Steve Martland: Skywalk
Hindemith: Un cygne
Gibbons: The silver swan
Alan Bullard: Choristers of flight
Ravel: Trois beaux oiseaux du paradis
Vautor: Sweet Suffolk owl
Finzi: Nightingales

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‘For, lo, the winter is past, the rain is over and gone; The flowers appear on the earth; the time of the singing of birds is come…’ (Song of Solomon)

It is perhaps no surprise that, of all creatures, birds feature most commonly in choral music.In this concert we celebrate that relationship with a selection of works that all in their different ways celebrate, describe, or in some cases commiserate with, the marvellous variety of birds. Some pieces, such as ‘Voices of Birds’, ‘The Blue Bird’ and ‘The Windhover’, simply wonder at nature in all its glory. Thomas Hardy (‘The Darkling Thrush’) and Robert Bridges (‘November’) heard in the sound of the birds a new hope in the depths of winter, a hope that is justified in ‘The summer is coming’. In madrigals of the 17th and 20th centuries (‘The Silver Swan’ and ‘Le Cygne’), the poets have sought to find parallels between presumed characteristics of particular birds and the human condition. And a decidedly comic touch is supplied in ‘Sweet Suffolk Owl’ and ‘The Hen and the Carp’. On a more serious note, Ravel’s use of the tricolour birds of paradise is merely symbolic; while a welcome change of focus is provided by ‘Skywalk’, which views the world from the eagle’s own perspective. Finally, in ‘Nightingales’ the birds themselves finally give a clue to the origin of the haunting power of their own music.

Herbert Howells: The summer is coming

Bryan Guinness (1905-92) was born in Dublin, succeeded his father as the 2nd Lord Moyne, and became vice-chairman of Guinness and a governor of the National Gallery. But he combined his public life with authorship of a considerable body of poetry and prose, much of it strongly influenced by his Irish background. Howells made this characteristic setting for the Cork International Festival of 1965, and dedicated it to the memory of Sir Arnold Bax, who identified so strongly with Irish culture that he made Ireland his second home, and died in Cork in 1953.

Robin Holloway: Voices of Birds (from ‘Five Madrigals’); Charles Villiers Stanford: The Blue Bird; Elizabeth Maconchy: The Hen and the Carp (from ‘Creatures’)

Robin Holloway studied under Alexander Goehr and since 1975 has been a lecturer in music at Cambridge University, where he and has inspired generations of students with his encyclopaedic knowledge of 20th-century music, while emerging as one of England’s most characteristic composers. His Five Madrigals of 1976 are settings of James Joyce and T.S. Eliot: the title, and the colourful and witty word-painting, hark back to the heyday of the English madrigal at the turn of the 17th century. This setting of Eliot’s ‘Cape Ann’ (a reference to the New England coastline where Eliot’s family spent much time) manages to characterise no fewer than eleven birds in the space of two minutes. Stanford’s ‘The Blue Bird’ is undoubtedly a masterpiece of the Edwardian part-song repertoire. In a pure piece of scene-painting, the choir evokes the rich stillness of the blue lake in which the image of the soaring bird is then reflected. Elizabeth Maconchy studied with Vaughan Williams in 1920s, and her chamber works of the middle of the last century were highly admired. But her output also encompassed a considerable body of music composed for choirs and amateur groups. Creatures was a commission from Stephen Wilkinson and the BBC Northern Singers in 1980. ‘The Hen and the Carp’ is a rare example of a successful choral comic turn, verging at times on the patter-song.

Steve Martland: Skywalk

Steve Martland was born in Liverpool in 1959, and studied composition in the Netherlands with Louis Andriessen, where he developed a highly distinctive brand of minimalism. He prefers to work with groups outside the classical mainstream, including his own Steve Martland Band. His preoccupation with the function of the composer in society is reflected in his commitment to work in schools and prisons. Skywalk was composed in 1989 to a poem by his regular collaborator Stevan Keane.

Paul Hindemith: Un Cygne (from ‘Six Chansons’); Orlando Gibbons: The Silver Swan

By 1939, when he composed the Six Chansons, Hindemith had escaped the Nazi regime to Switzerland. They are settings of poetry by the German poet Rainer Maria Rilke, and display the composer’s mastery of the neoclassical style. The swan is characterised by its measured, but somewhat melancholic, progress along the water. And this image is not dissimilar from that of the much earlier piece by Gibbons. Despite its popularity as a madrigal, it is probable that ‘The Silver Swan’ was intended as a solo song accompanied by a viol consort. Nonetheless, its place as the perfect choral epigrammatic miniature is assured.

Alan Bullard: Choristers of Flight

Alan Bullard was born in South London in 1947 and studied composition with Herbert Howells at the Royal College of Music. Since 1975 he has taught at Colchester Institute, since when his reputation for choral writing for both professionals and amateurs has steadily grown. These songs were composed in 1994 and first performed in their complete version in Chelmsford Cathedral. Characterised by an imaginative response to poetic detail and a broad palette of textures, they display a mastery of colour to match the poetry of Hardy (The Darkling Thrush), Hopkins (The Windhover), and Bridges (from November).

Maurice Ravel: Trois beaux oiseaux du Paradis (from ‘Trois Chansons’); Thomas Vautor: Sweet Suffolk Owl; Gerald Finzi: Nightingales (from ‘Seven Poems of Robert Bridges’)

Ravel was anxious, in the dark days of the First World War, to celebrate the values of French culture as it had been in a more peaceful era: hence this homage to the Renaissance chanson. Ravel’s own text, with its symbolic suggestion of the colours of the French flag, is echoed in the pastoral nature of the musical setting. Thomas Vautor left just one volume of ‘Songs of Divers Ayres and Natures’, published in London in 1619-20, but they reveal him as one of the most interesting of the English madrigalists. ‘Sweet Suffolk Owl’ combines an infectious wit and attention to textual detail with an underlying melancholy. Gerald Finzi lived and worked in the English countryside most of his adult life, and the pastoral nature of his music is well known. As with his many other choral works, his settings of Robert Bridges perfectly match the ebb and flow of the poems. And it is the nightingales themselves that are given the last word, recalling Christopher Marlowe’s hope that we may sit:

‘…By shallow rivers, to whose falls, Melodious birds sing madrigals.’

  • “An entrancing aural kaleidoscope,...
    which beguiles with its ravishing combination of the ethereal and the profound" (Radio 3 broadcaster, Jeremy Summerly)

    "The singing is among the finest you’ll hear from a chamber choir" (Radio WRST, University of Wisconsin)

    "A very enterprising selection...the choir make a light, fresh sound and sing with enthusiasm and commitment...the music is well performed and well recorded"

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  • “A fine choral disc…well worth a listen” (Fiona Maddocks/The Guardian)

    Released in June 2019

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  • Stopford: Ave Regina Caelorum

  • Tavener: Butterfly dreams

  • Poulenc: Bois meurtri

  • Musgrave: The subway piranhas

  • Weir: Love bade me welcome

  • Britten: Carry her over the water

  • Fauré: In paradisum

  • Somewhere over the rainbow

  • Chilcott: Advent Antiphons

  • Rachmaninov: Vespers

  • Allwood: Charades III

  • Tallis: Lamentations

  • Josquin: Agnus Dei

  • Have yourself a merry little Xmas

  • Schumann: Zuversicht

  • Poulenc: La bonne neige

  • Stanford: The Blue Bird

  • Britten: God’s grandeur


  • Recordings

    It would be difficult to praise the performances too highly (Choir and Organ)

    Highly attractive...hugely enjoyable" (Time Out)

    Robust yet tonally refined performances ***** (BBC Music Magazine)

    Sam Laughton's Elysian Singers perform here with captivating intensity ***** (Classic FM)

    Subtle, disciplined, radiant (Gramophone)

    The Elysian Singers perform this often difficult work with clarity, precision and emotional punch (American Record Guide)

    Exquisitely sung with full-bodied, lively tone ***** (Classic CD)

    Magnificent (Church Times)

  • Media

    I travel back from London with the St Matthew Passion filling my head, after the moving performance from the Elysian Singers and Royal Orchestral Society under Sam Laughton at St James’s Piccadilly (The Spectator, April 2019)

    The female voices of the Elysian Singers contributed to a magical serenity descending over the [Albert] hall during Neptune, and when considered alongside the evening’s earlier strengths, helped to register this show as an undoubted early highlight of this year’s [Prom] festival (Music OMH, July 2015)

    A profound otherworldliness was initiated by the entry of the Elysian Singers, the off-stage female chorus seeming to sing from a distant planet, far beyond earthly realms (Seen and Heard International, July 2015)

    In the posthumous premiere of Sir John Tavener’s Monument to Beethoven, [John] Scott’s organ interjections brought visionary breadth to the Elysian Singers’ luminous tapestry (The Times, March 2014)

    Amongst chamber choirs they’re one of the best (Sir John Tavener, BBC TV interview)

    The classy Elysian Singers (Howard Goodall on Twitter, November 2013)

    That superb choir (John Woolrich, Radio 3)

    The excellent Elysian Singers directed by Sam Laughton (Classical Source, reviewing our 2014 Festival Hall concert)

    Ambitious, well executed and strangely compelling (Simon Jack, reviewing Open Outcry on Radio 4)

    Excellently performed by the Elysian Singers under Sam Laughton (Keith Potter, The Independent)

    A persuasive ensemble, excellently attuned to this repertory (The York Press)

    “The Elysian Singers came up trumps…luminously soft and uniform” (David Ardatti review)

  • Feedback

    Heard you sing last Sunday in St Patrick’s Cathedral. Wow! (especially the Kodaly). Thanks, come again soon (S&MG, Dublin)

    I was moved, not just by the music, but also by the creativity of humankind, continually sharing new ways of contemplating life, and by the discipline of ordinary people who work hard and unpaid to interpret this beauty and emotion to others (York blog)

    Last night’s concert was wonderful–and the links between these two great composers intriguing. Many thanks indeed (PE, Oxford)

    Heard your Gallant Weaver recording played on Radio 3 this morning – beautiful! It made my day 🙂 Gordon (e-mail address supplied)

    There were so many bits I loved. But most of all you looked, as a choir, like you were actually enjoying yourselves. Your encore made me cry for some reason – I think sitting there for a couple of hours was perfect therapy in the run up to Christmas – it made me want to run home and stick the girls’ stockings up and scatter cinnamon around the house (TM, London)

    Your CD of Sir Granville Bantock’s music arrived today – what treasures it contains. As someone who has enjoyed singing in choirs for many years, I found this recording very special. Congratulations to all concerned!! (BL, Hobart, Tasmania)

    I just wanted to let you know how much I’ve been enjoying the new album. The choir sounds fabulous throughout. Congratulations! Please pass along my gratitude to your excellent singers (JL, USA)

    The closest I’ve come to a spiritual experience for a very long time… (DF, Streatham, after hearing the choir perform James Macmillan’s Seven Last Words from the Cross)

    You made such a lovely sound this morning. Ave regina coelorum was exquisite – quite the loveliest thing I’ve heard for a long time (J P-B, Salisbury, 2011)

    We cannot thank you enough for the beautiful singing, which totally exceeded our expectations. We feel very privileged. I particularly loved the descant – it was a moment I will always remember (N&T wedding, April 2013)

    The Elysian Singers truly live up to their name; there is something heavenly about their singing…For the duration of [Peter Maxwell Davies’ Solstice of Light], I felt washed clean by its words and its music, taken out of the clutter and complications of London life. (JB, London blog, Feb 2014)

    Beautiful, uplifting music and an eclectic repertoire. A very enjoyable evening (Audience Club reviewer, Feb 2019).