Recently, The 1885 Singers served up a buffet of Austro-German composers, featuring Brahms, Schumann, Korngold and Richard Strauss. Feelings of longing and loss gave the pieces cohesion, with a touch of spring in the flower songs of Strauss.
The 1885 Singers and in the front row L-R: Pianists Robert Bridge and Moritz von Freyhold, Baritone James Geidt, Soprano Iúnó Connolly, Musical Director Chris Langworthy.
Of Brahms’ Nänie, my husband said, ‘Sublime, one of my sleeping songs’. It’s an elegy to one of Brahm’s friends and touches a chord in all those who have lost loved ones. Helen Finch worked in the medical profession: ‘Our general attitude to death can be pathological, it’s viewed as a failure. It’s good to see it portrayed as beautiful. This has whetted my appetite to know it better as it’s not easy listening. And get the translation.’ Jonathan Standup, a long-standing member of this choir, and, until recently, four others, said it was unusual in that no one had sung it before.
Brahms’ – Ein Deutsches Requiem, Op.45
Brahms is one of my favourite composers, but I don’t do requiems much, either because they bring me down, or because they don’t feel relatable to my experiences of death. Being blasted by Verdi with reminders of the Wrath of God is hardly helpful. This requiem however felt soothing, emotionally intelligent, personal, intimate. My daughter loved the 6th Movement: ‘It was lively’. Her boyfriend Max found it soothing, so soothing in fact, he was seen to nod off a couple of times. We all nod off in Classical concerts, let’s just admit it shall we? and it’s one more taboo that needs to be rethought. I see it less as disrespectful, more as a compliment: one, to the music-makers for the quality of their sound, and two, to the audience for creating a bubble where one feels safe enough to become totally vulnerable. Where else would you dare, in a public space? Not in a park, in case some ill-mannered lab tramples all over your picnic. Not in a tube. Not on a beach for fear of bag-snatchers. I digress. Another member of the audience, Bridget, thought this ‘particularly romantic and melodic, very different from Latin masses. I loved how it was short, beautiful and dramatic.’
No concert would be complete without its instrumentalists. Brahms orchestrated this mass for piano duet – two-players-one-keyboard, ‘to make it more portable’ said Robert Bridge who played Secondo (on chords), accompanied by Moritz von Freyhold, the Primo, (on melody). ‘Secondo is like the base, so I played the harmonies and got the pedals. At times Primo was getting frustrated, I could feel his leg subconsciously looking for the pedals. ‘You’re very up close, there’s a lot of negotiation, working out the finger positions and timing so as not to interfere. Long fingernails could do serious damage!’
The Choir’s Conductor, Christopher Langworthy, was full of praise: ‘The Choir sang amazingly, with artistry and lyricism, transcending the technical difficulties.’ I asked why he chose this mass. ‘It’s a cornerstone of the Romantic repertoire, and I was looking for contrast, an approach with heart and spontaneity, rather than the more formulaic, predictable works of some Mozart masses for example.’
It’s important to emphasise this is a community choir, all volunteers, all local, all squeezing the rehearsals into their busy lives, because their hearts demand it. After the concert I knobbled The Chairman, Andrew Sykes, full of vim and vigour. ‘It’s the Choir’s 30th anniversary next year, and we are proud of its transition 3 years ago to charitable status. We have 60 plus singers but we’re always keen to recruit tenors, they’re gold dust. There are no auditions, though it’s helpful to read music. We have lots of strong singers so it’s very supportive.’ My daughter challenged him: ‘Why aren’t they listed in the programme?’ Fair point.
Their nearest and dearest also get roped in. Dutiful husband Steve, doubling as Assistant Barman: ‘My wife sings, I’m non-musical. It’s always uplifting, nothing to make you feel more alive. I thought the soloists were amazing.’
The next exciting episode is Handel‘s Coronation Anthems and other works from British Coronations, on 4 July 2026, (was that intentional?), All Saints Church Putney at 7:30pm.
To join up, visit The 1885 singers website.
Hi! I have a ‘portfolio’ lifestyle, jumping between mum, journalist, curator of my own museum, chauffeur, French tutor and carer. I love music, dance, theatre and dancing in the evenings, and helping others to enjoy life. I’ve been through the mill healthwise, along with my family, and am grateful for every day.
