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THERE IS A MEETING HERE TONIGHT

We start our concert with a rousing call to worship in this arrangement of a gospel classic by US ensemble Cantus.This piece builds from the quiet anticipation of the opening to the full-throated welcome of the climax – we hope you find plenty of friendly faces at our meetin’ here tonight

SERENADE ITALIENNE
Our beginnings shift from church to sea. as we are invited by Ernest Chausson to a rendezvous under the stars. “Let’s go embark upon the sea”, the pieces entreats us, where “We can exchange souls, and no one will understand our voices, except the night, the sky, and the swells of the water.”

DULAMAN 
This traditional Irish courting song is literally about seaweed (Dúlamán), but its lyrics have a figurative meaning: they represent men coming to court a woman. The woman is initially unimpressed, but by the end of the song is convinced to give the suitor a chance.
 

JUNE (solo)
June, by one of England’s greatest songsmiths, celebrates the beginning of summer, with its “dark red roses”, “silk-soft hollyhock”, and “larks high overhead” – that’s the way of June!

THE BLOWER'S DAUGHTER (solo)
This song was only a moderate chart success when it first released, but since has become recognised as a classic folk ballad. It’s lyrics are enigmatic, but there’s no mistaking the intensity of the refrain “I can’t take me eyes off of you” – a feeling those beginning a new relationship will resonate with.
 

THE ONLY LIVING BOY IN NEW YORK (small group)
In this classic song the narrator is left behind after their friend has begun a journey – they’ve gone to Mexico without him! Yet secretly the song refers to Simon’s sense of loneliness as he continued writing songs while Garfunkel was acting in the film Catch-22.
 

VALEDICTION:
Memorare, The Flower in the Fields

VISIONS AND DREAMS
We end the first half of our concert with an intense vision of the end of all things: Richard Burchard’s setting of Acts 2: 17-18. In these verses Peter quotes the prophet Joel: God will “pour out [his] spirit upon all flesh”, and all will begin to prophesy – a wondrous and exciting occurrence. But this is only a precursor to the “blood and fire and billows of smoke” which will follow. The piece captures both the amazement at the gift of prophecy falling upon all people, and their dawning horror as they realise what this means.

FIRE
Our second half opens with Fire. Fusing rhythmic elements with strange sounds and calls, it evokes both the creative and destructive potential of fire – its capacity to be both a beginning and an end.
 

DRILL YE TARRIERS DRILL 
We explore another type of beginning in this traditional American railway song – the beginning of a grinding workday, as railway workers drill their way through unyielding rock to make passage for the track.

VOICE OF THE BARD

In this setting of Wiliam Blake’s words from the opening of Songs of Experience, we hear the voice of a “bard” who can see present, past, and future. Blake calls upon a slumbering world to awake and begin a process of spiritual renewal.

FOR NO ONE (small group)

For No One is an exploration of one of life’s most challenging experiences: a relationship has ended, but the lover cannot accept its end. “She no longer needs you”, the singer cries, “yet you don’t believe her when she says her love is dead.”

TOXIC

By contrast,Toxic is about a relationship which should be over but is not: Britney Spears wants to quit her lover, but his lips are “a taste of poison paradise”!

HOMEWARD BOUND​

This song conveys our yearning for home at the end of a long journey.

 

END OF THE WORLD

Expresses the opposite sentiment: the desire for the journey of a relationship to continue, even until the end of the world.
 

SEASIDE RENDEZVOUS

We close our musical journey with a piece perfect for a Brighton summer. This charming  ditty captures those first moments at the start of a relationship, when we hope someone might just be our valentine!

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