Life, Death & Crucifixion: Gjeilo, Coleridge & Carr
Review by Sue Moore

Ola Gjeilo - The Ground
Matthew Coleridge - Requiem
Paul Carr - Stabat Mater
Wymondham Choral Society
Saturday 19 July 2025, 7pm
Wymondham Abbey

Wymondham Abbey was established in 1107 firstly as a monastery and then, post the abolition, a parish church, which it remains today. But what a parish church! While the exterior boasts two towers which are visible for miles around, the interior is equally as captivating with the vaulted wooden ceiling, bedecked with carved angels, to the two organs by James Davis, and the gilded rude screen. A stunning and fitting venue for Wymondham Choral Society’s summer concert. This evening the fifty plus strong choir were joined by vocal and instrumental soloists, organist, and an orchestra of thirteen players, under the baton of Musical Director, Justin Bindley.

Many choral societies rely on the classic cannon of Oratorios when programming. This is my second Wymondham Choral Society performance and I was, once again, very pleased to see music by living composers on the programme. The choir began with The Ground, a Mass by Norwegian composer Ola Gjeilo. This chorale is from the last movement of the Mass and opened an evening of atmospheric and evocative music. The organ part, tonight played on a keyboard by Rob Goodrich, accompanied well. The piece began with a short, pianissimo introduction, and the choir, who have a lovely ensemble sound with a clean and bright soprano section, performed musically and with a mellifluous vocal line.

The programme continued with Requiem by Matthew Coleridge where the choir were joined by the orchestra. It opened with a haunting Introit and continued to surprise and delight as we were taken on a journey by each movement. There were two vocal solos in this piece, the first a ‘step out’ from choir member Kevin Ward, who sang with conviction and gravitas in the Offertory. In the Pie Jesu the cello solo (John Mudd) and soprano (Laura Morgan) weaved together, pleading, in a heartbreaking duet. Coleridge’s aim to depict the journey of the soul as it leaves its earthly body through the solo cello line was extremely effective.

The concert concluded with Paul Carr’s Stabat Mater where the organ was replaced by Harp (Lucinda Pennick) as we were transported to the holy lands where Mary walks alongside her son carrying the cross to his place of execution. This was the pearl of the evening’s programme where the choir were able to paint a musical picture building to the torments of the fifth movement (Thy Grief Divine) and ultimate redemption in the final sixth (In Paradise
with Thee).

What an uplifting way to spend an evening in such a glorious setting listening to such diverse and emotionally charged music. I heard numerous comments from other audience members (the venue was almost at capacity) all stating how much they enjoyed experiencing a programme of new music. I look forward to Wymondham Choral Society’s Christmas concert (13th December 2025) at St. Mary’s Church, Attleborough for Britten’s St. Nicolas.

Wymondham Choral Society Concert July 2025
Review by Mary Methuen

First of all, I would like to say there is nowhere else I would rather have been on Saturday 19th July from 7pm onwards, than at Wymondham Abbey for the Choral Society’s Summer Concert. What a lovely evening it was!

The opening of The Ground, by the Norwegian composer Ola Gjeilo, based on a chorale from the last movement of the Sunrise Mass, was very atmospheric and caught my attention immediately. The performance was very expressive, committed and heartfelt. Dynamics were carefully and effectively contrasted, and the diction was mostly clear. The performance set the mood for the whole evening.

The Requiem which followed, by Matthew Coleridge, demonstrated very good breath control and a real depth of feeling.

The dynamic contrasts were extremely effective. The orchestral instruments were all very professional and well balanced with particularly lovely intonation from the cello. Special praise goes to the male soloist who produced a very inspiring tone and beautifully sustained projection.The interpretation of this whole performance was very sincere and heartfelt.

The Stabat Mater by Paul Carr was sung with much musical awareness and sensitive projection. The intonation was secure and the dynamic range was very effective and moving to witness.

Special congratulations go to the Music Director, Justin Bindley, particularly for such an imaginative choice of programme and for terrific attention to details.

With all very best wishes and thanks to you all for such an engrossing concert.