Saturday 14th June. In a town better known for its racecourse than rock and roll, Epsom discovered a new spirit last weekend with the first-ever Epsom Square Music Festival – an ambitious, joyful celebration of grassroots talent and community spirit.

“We just wanted to get more music into Epsom,” said Toy, the festival’s organiser, speaking from Metropolis (formerly Epsom Social) which served as the hub of the day-long event. “As a new venue, it felt right to do something for the community.”

The result was ambitious by any measure: three outdoor stages and over 100 performers across 39 acts, playing everything from acoustic soul to funk and rock. The diversity wasn’t only musical, either. “We had performers as young as four, maybe younger,” Toy said, “and then, of course, we had the proper grown-ups too.” The result was a line-up that reflected the whole community, mirroring Epsom in all its lively charm. 

The festival came together in just six weeks, a feat made possible by local support and backing from sponsors such as Epsom Picturehouse, Go Epsom, Epsom & Ewell Families, and music retailers Guitar Guitar and Realistic Music Academy, both of which sponsored their own stages. “We’re so lucky in this town,” said Toy. “There are so many individuals who are brilliant at what they do that, if you decide to throw together a music festival in six weeks – it’s entirely doable,” she laughed. “Though next time, I’d like a bit more lead time.”

Toy, who also runs the Realistic Music Academy, knows the town’s creative undercurrent better than most. Attracting performers was “actually really easy”, she said, as she “just put out a post, and suddenly we had 38 acts signed up… the interest is absolutely there.”

The crowds clearly agreed. Nearly 500 free tickets were ‘sold’ in advance, but many more drifted into the square over the weekend, drawn by the buzz of the music and conversation.

On stage, highlights came thick and fast from a variety of performers, but it was local newcomers Vault, a four-piece with an average age of just 14, who perhaps best captured the festival’s mission. “This is the only way for us to get out there,” they said. “There should be more venues – other than Metropolis, there’s not many places for us to play.”

Toy, who also runs Realistic Music Academy, agrees. “There’s definitely a need for more places to play music in Epsom,” she said. “I’d love to do this again next year. I just want more of it – more stages, more performers, more everything.”

But beyond the lively crowds and standout performances, the weekend carried a deeper message: local music matters, community matters – and when Epsom comes together, it’s capable of creating something genuinely special. A triumph of town spirit – and, with any luck, the start of something much bigger.

For those who love jazz Epsom’s own Epsom Jazz Club stages monthly live jazz nights with quality national and international artists at the Epsom centrally located Comrades Club in The Parade Epsom. The next jazz evening at 7.30pm is Thursday 26th June featuring Atlanticus. See www.epsomjazzclub.com for details.

Donovan Livesey

Photo is of the band “Vault”.

A world premiere blending sharp wit, choral storytelling, and jazz rhythms will take centre stage at Epsom Choral Society’s summer concert this month.

On Saturday 21st June at 7.30pm, the Society will unveil True Story, a brand new choral piece composed by Russell Hepplewhite with text by renowned writer and former Children’s Laureate Michael Rosen. The performance takes place at St Andrew’s Church, Cheam (SM2 2HF).

Described as “witty and wonderfully offbeat”, True Story is based on Rosen’s chaotic and comic account of the birth of his son Joe. Known for his distinctive humour and accessible lyricism, Rosen’s writing lends itself to vivid musical interpretation. Composer Hepplewhite’s score is full of energy and character, promising a premiere that’s both playful and poignant.

The new work forms part of Living Voices, a national project from publishers Stainer & Bell pairing contemporary British poets with composers to explore modern life through choral music. Other pieces in the collection reflect on themes including youth, memory, health, and landscape—ranging from the light-hearted to the deeply moving.

For Epsom audiences, True Story headlines a lively summer programme entitled ‘All That Jazz’, which also features:

• Mass in Blue by Will Todd – a jazz-infused setting of the Latin Mass blending gospel influences with the classical choral tradition. The Society will be joined by soprano Lisa Swayne and a professional jazz trio for this soulful and energetic work.
• Birthday Madrigals by John Rutter – a playful, jazz-inspired cycle of songs combining Renaissance style with swing-era harmonies.
• Evening Prayer by Norwegian composer Ola Gjeilo, offering a more serene interlude with choir, piano, and saxophone.

Speaking ahead of the concert, the Society’s musical director Julian Collings said the programme celebrates the range and vitality of contemporary choral music:

“This concert combines the best of tradition with innovation—bold new work alongside modern classics. We’re especially proud to present a world premiere here in Epsom as part of a major national project.”

Tickets are £20 (under-25s half price) and are available at:
🎟 www.ticketsource.co.uk/epsom-choral-society/t-molojed
📞 Box Office: 01372 274418

Image of St Andrews – Google Street view.

From the parks of Alexandra Rec to the playlists of rock fans across the country, a new local band with deep Epsom roots is making waves with their debut single.

Penny Rebels, a blues-rock outfit formed by long-time friends and musicians, are preparing to release their first original track, “Bad Man”, on July 1st. The single, described by the band as “gritty, blues-infused rock with big energy and attitude,” marks the culmination of years of songwriting, performing, and musical collaboration.

The band’s connection to Epsom is woven into its story. Two of its members grew up in the town – attending local schools including St Martin’s, Wallace Fields, and Glyn – and spent their formative years playing at Alexandra Recreation Ground. The group’s bass player, a long-time resident of Ewell Downs Road, still calls the borough home.

Formed in Farnham, Penny Rebels emerged from a shared passion for music among friends balancing work, family, and creative life. “We were in bands when we were younger, but life took over,” the band explained. “Now, with more space in our lives, we’ve returned to music — and we’re loving every minute of it.”

Their debut single is accompanied by a newly completed music video, available via a private link ahead of the public release. The band has also released an electronic press kit (EPK) featuring promotional images and media resources for broadcasters and press.

With all members contributing vocals and a sound described as “originals with soul and grit,” Penny Rebels are setting their sights on festival stages and high-energy live performances throughout the region and beyond.

The band welcomes opportunities to share more about their journey and would be delighted to speak to local media or take part in community music features.

• Website: www.pennyrebels.com
• Instagram | YouTube | TikTok | Facebook: Penny Rebels
• Email: pennyrebelsband@gmail.com

Listen to “Bad Man” from July 1st on all major platforms.

This year’s Refugee Week theme, “Community as a Superpower,” celebrates the influence and connection with other cultures that enrich us all, offering fresh perspectives, traditions, and stories that shape a more vibrant, inclusive society.

Between 16–22 June, Epsom and Ewell Refugee Network (EERN) will honour the talents, stories, and successes of the refugees they support through a series of uplifting cultural events and film screenings. Film has a unique way of showing us what unites us—that shared experience of seeing stories on the big screen and sharing the best of our cultures.

Community is indeed a superpower—especially during Refugee Week—as it reminds us of the strength found in unity. It celebrates the transformative power of welcoming communities to change lives and challenge the narrative around migration.

Local Solidarity and Support

Since the start of the war in Ukraine, the Epsom and Ewell community has shown extraordinary solidarity—welcoming refugees into their homes, raising vital funds, and providing practical support to help newcomers rebuild their lives. All members of the community are warmly invited to attend Refugee Week events in a spirit of unity, compassion, and cultural celebration. Let us come together to show that Epsom stands strong in solidarity with those affected by conflict and displacement.

Cultural Events & Film Screenings

Curated in partnership with Ksenia Bugrimova—award-winning Ukrainian film producer and founder of Talented U, a Ukrainian-British screen industry association—Refugee Week events will take place at Epsom Picturehouse, a vibrant new boutique cinema and community hub in the heart of Epsom. Each screening is paired with live music or cultural programming that showcases the creativity and resilience of refugees from Ukraine, Syria, and beyond.

“Film reflects the joy and humanity in every culture—it reminds us that community isn’t just where we live, it’s who we are. That’s our superpower.”
—Joe Stroud, Marketing Manager at Epsom Picturehouse

Tuesday, 17 June

Live Performance by Yuliia Komyshan
Yuliia Komyshan is a professional bandura player from Poltava, Ukraine. The bandura—a traditional Ukrainian plucked-string folk instrument—holds a special place in the country’s musical heritage. Since arriving in the UK at the start of the war in Ukraine, Yuliia has dedicated herself to sharing the richness of Ukrainian culture through music. She is passionate about introducing global audiences to the sound of the bandura and fostering a deeper connection with Ukrainian musical traditions, both ancient and contemporary. Yuliia performs at concerts whenever she can, using each opportunity to celebrate and preserve her cultural roots.

Film Screening: The Taste of Freedom
A young cook discovers a rare 1929 Ukrainian cookbook and, through traditional cuisine, reconnects with her roots and inner strength.

Thursday, 19 June

Performance by the Ukrainian Renaissance Choir
The Ukrainian Renaissance Choir, founded by concert pianist Nataliia Zadorizhna, will perform the Ukrainian National Anthem and other cultural songs.

“It is an enormous privilege to stay in the UK and to be surrounded by such noble, caring, and generous people,” says Nataliia, who has lived in Ashtead with her 11-year-old daughter since May 2022.

Attendees will also have the opportunity to meet members of the Ukrainian community and EERN volunteers supporting displaced families.

Film Screening: Rocky Road to Berlin
A road-trip comedy set in the chaos of the 1990s USSR. Two musicians drive to Berlin in an old Pobeda car to trade it for a Mercedes—and discover much more than they bargained for.

Plus: Home for Ukraine
A moving documentary featuring former tennis champion Andrew Castle, who shares his story alongside that of a young woman from Mariupol. Previously screened by Film London and other UK festivals. Andrew Castle is hoping to attend and support the event.

Saturday, 21 June

Live Performance by Basel Saleh
Internationally renowned Syrian musician Basel Saleh will perform a fusion of Arabic and Western classical music on the oud. A conductor and composer, Basel has played at major festivals including Glastonbury and Roskilde and collaborated with artists such as Damon Albarn of Gorillaz.

Film Screening: The Walk
Directed by Tamara Kotevska, this hybrid documentary follows Little Amal, a giant puppet symbolising a young Syrian refugee, as she journeys across Europe in a powerful allegory of hope and resilience.

Booking and More Information

To book one of the performances or screenings, visit:
https://www.picturehouses.com/event-details/0000000167/refugee-week/100

To learn more about Epsom and Ewell Refugee Network, visit:
https://epsomrefugeenetwork.org

For more information about the cinema and upcoming events, visit:
www.picturehouses.co.uk/epsom

Community Event – The Great Get Together
Sunday 22 June 2025 1pm-4pm

St Joseph’s Church Hall, St Margaret’s Drive, Epsom KT18 7QJ

You will already have received details about our Great Get Together event. This is a FREE community event for all the family, part of a network of events inspired by the Jo Cox Foundation to celebrate all that unites us as a community.  We have loads of activities for all ages, so please come and join us and bring friends and family. Although entry is free of charge, please can you book tickets online so that we know the numbers to expect. Also, we would ask you to  bring a donation of food to contribute to Good Company’s Food Bank.

Book your free online tickets here where you can also see the range of activities available, all of which are free.

A new art installation at Tattenham Corner Station is shining a light on Epsom’s rich racing heritage while adding a burst of creativity to commuters’ journeys. This initiative, part of the Art@thestation project launched at Epsom main station in October 2024, transforms everyday travel into a gallery experience, offering young artists a unique platform to share their work.

Led by The Art Society Epsom with support from Southern Railway and its London head office, the project celebrates the energy and excitement of Derby Day and the iconic Tattenham Corner bend. Local artists were invited to explore the theme of ‘Speed’—a nod to both the daily rush of life and the fast-paced world of horse racing.

The project’s success has been driven by collaboration between Angie Child, Head of Young Arts Volunteers at The Art Society Epsom, and Ben Robinson, Commercial Development Manager at the University for the Creative Arts Students’ Union (UCASU). Their efforts have brought together a striking collection of images that celebrate local identity and creativity.

One of the contributors, Richa Elangovan, a Master’s student in Graphic Design at UCA Farnham, shared:

“My artwork and style consists of messaging through my concept illustrations: topics I’m passionate about include environmentalism, climate change, feminism, and human and animal rights. I use art as my tool for expression on issues otherwise sidelined.”

The installation is a testament to how art can enrich public spaces, spark meaningful conversations, and bring the community together. Ben Robinson said:

“We’re proud to support young talent and bring this celebration of the Derby into the heart of the community. A massive thank you to The Art Society Epsom for partnering with us on this. We’re always looking to showcase student work and can’t wait to see how these pieces brighten the station this summer.”

For local artists and residents keen to get involved, Angie and her team welcome new participants—contact her at Volunteers.tase@gmail.com to be part of this dynamic project.
Meanwhile, the UCA Students’ Union continues to seek out new venues for student art—anyone with a space that could use a creative spark can reach out to ben.robinson@uca.ac.uk.

Photo L to R: Ben Robinson, Alistair McGeachy, Richa Elangovan and Angie Child

https://www.linkedin.com/in/romanasustar

The show will go on for an exclusive summer concert on a private island in the Thames. D’Oyly Carte Island has been given the go-ahead to host three days of music and entertainment as part of the Weybridge Festival over July 4-6, 2025.

The private island, inaccessible to the public for part of the year, opened its grounds last year for Weybridge Festival and celebrated music ranging from Motown and Soul to 70s’ and 80s’ soft rock.

In January 2025, the festival plans were put on hold as Elmbridge Borough Council decided to stop the event going ahead due to “serious health and safety concerns”. After four months of working on risk assessment and escape plans, the weekend concert can now go ahead.

A unique location, only one bridge serves as the connection from the mainland to D’Oyly Carte Island. Officers raised the alarm that the evacuation routes in the event of a fire or an emergency were not enough for the requirements.

Owner of the Island and event organiser Mr Andy Hill said: “It’s an island, it’s surrounded by water, it’s 50 yards from the mainland. My experience of human beings, if confronted with burning to death or taking on 50 yards of the Thames—I know what I would do. People that are confronted with death will do a lot of things to avoid it.”

Mr Hill explained people can evacuate via the bridge in 5 minutes and 3 seconds—just 3 seconds over the legal time. He also added there will be a ferry that is available for the “odd straggler who can’t get on”.

The environmental officer said she is “still concerned about Mr Hill’s attitude and competency to health and safety, and fire safety”. Officers stressed their key concern was the evacuation plan as they were not satisfied proper emergency routes and exits were in place. The environmental officer said the barge is not licensed to carry people.

Councillors recognised Mr Hill had put plans in place like an evacuation plan and alternative routes. But Cllr Paul Hughes, chairman of the licensing committee, said: “I really encourage you to carry on working as there are clear issues that need to be resolved.”

Mr Hill said after the meeting: “We have worked very closely with the Fire, Police and Health & Safety for the last four months to ensure the events in 2025 are as safe and enjoyable as they were in 2024 and we very much thank these services for their valuable input. We are very grateful to the three Councillors at the TENS hearing who listened to the points made by all parties and concluded that the extensive safety measures that have been put in place will result in a safe and fabulous event with some sensational performers.”

Related reports:

Surrey’s D’Oyly Carte Island concerts cancelled.

Bridge to private D\’Oyly Carte Island, Weybridge. (Credit: Google Street View)

Ashtead Choral Society and Kent Sinfonia – Dvořák Triumph. St Martin’s Church Epsom 24th May.

Let me get straight to the point. This was a special evening and, at least for me, unexpectedly so. Dvořák’s Romance for Violin and his Stabat Mater are very much ‘B-list’ on the concert repertoire and don’t feature on the Classic FM ‘Hall of Fame’. You must wonder why when the performance by Ashtead Choral Society, Kent Sinfonia, and Christian Halstead on solo violin was so enthralling from start to finish.

Halstead set the tone for the evening with Dvořák’s restless Romance for Violin. You might expect a straight love song from the title ‘Romance’, but Halstead made the most of this restive paean to foreshadow what was to come.

Now, the Stabat Mater. It is one of those pieces that is, to my mind, not very interesting when listened to as a recording. But, wow! It comes to life in a performance setting, as Music Director Dr Andrew Storey demonstrated, navigating the orchestra, soloists, and choir through Dvořák’s journey from darkness to light.

Each movement is compelling, and on Saturday night in Epsom it felt like reading a great book. As each chapter ended, I wanted to get on to the next one and find out what happens next. There is too much to write about in this review, but to give you a flavour: we were treated to solo quartets that felt appropriately ‘cathedral’ rather than ‘opera house’; soprano and alto choruses that sparkled; tenor and bass choruses plucked from the depths of Bohemia; and, oh, the magical end where Storey closes with 140 performers quietly triumphing over tragedy.

This concert was a very good end to the Ashtead Choral Society season. But there is good news: if you missed this concert and want to experience Dvořák’s Stabat Mater for yourself, Epsom Choral Society will be performing it next season. Even better news: Ashtead Choral Society’s next season will include a mouth-watering line-up: Elgar’s Dream of Gerontius, Bach’s St John Passion, and Handel’s (rarely performed oratorio) Theodora.

www.ashtead.choralsociety.org.uk

Jane Pickles, 26 May 2025

Epsom Choral Society (ECS) has said a heartfelt goodbye to their much-loved accompanist, Marion Lea, who is retiring after an extraordinary 50 years.

At a special farewell party held in her honour, choir members gathered to celebrate Marion’s remarkable contribution to ECS since she first joined in 1975. In a warm and emotional tribute, ECS President Jon Pullinger shared the story of Marion’s involvement with the choir, remarking, “What amazing good fortune for us” – her musicianship, support and professionalism have been a cornerstone of ECS for half a century.

In recognition of her long-standing dedication, Marion was presented with a series of personal gifts: a facsimile of Mozart’s C minor Piano Concerto (K491), a subscription for a monthly bouquet of flowers for the next year, and a set of four handmade, music-themed coasters. She also received a beautiful bouquet of flowers and a magnificent, personalised cake in the shape of a piano.

Members past and present paid tribute to Marion’s extraordinary skills, her quiet professionalism, and the musicianship she brought to every rehearsal and performance. As Jon Pullinger said of Marion: “The accompanist will pick out weaknesses in one part or another and come to their rescue with appropriately judged emphases. We have been so fortunate in having Marion with us as both fine soloist and consummate accompanist.”

ECS looks back with gratitude for all Marion has brought to the choir and with warm wishes for her retirement.

Nina Kaye

Another great concert from Epsom Symphony Orchestra, directed and conducted by Darrell Davison with Christos Fountos the piano soloist. The theme was Romance & Revolution.

The concert began with Tchaikovsky’s Romeo & Juliet Overture (Fantasy) – inspired by Shakespeare. The dramatic and forbidding opening, depicting doom and gloom, moved to a mood of lightness – a faster pace with dancing notes from the flutes – before reverting to solemn chords. The music captured the feud between the Montagues and Capulets. The love theme was special – lyrical notes first heard on the Cor Anglais, then the flautists’ melody rang through, and finally the distinctive notes of the harp. Flowing and haunting chords of the ending metamorphosized from hints of happiness to one of pessimism and death, demonstrated so convincingly by the timpani.

Rhapsody on a Theme of Paganini by Rachmaninov was amazing. Christos Fountos played the piano with aplomb, his fingers racing up and down the keyboard. There were contrasting moments of lightness and solemn intensity. The lyrical melody on the piano was joined by flowing chords from the strings and then the wind, finally ending at a diminished pace on the piano.

Shostakovich’s Symphony No. 5 was a wonderfully deep symphony. A menacing theme from the cellos and double basses contrasted with the haunting notes of the violins. Spiky and unsettling chords added intensity, creating an ominous atmosphere. The serene notes of the flautists changed the mood – reinforced by the calming notes of the lower strings. Other sections were fast, with an atmosphere of expectancy and individual solo parts. The Largo movement was introduced by strings with moments of pathos. As the intensity built up, the mood changed. Was it anger? Or determination to overcome adversity? It resolved serenely. The final movement had a strident atmosphere which moved on to more tranquil waters. Unsettling chords and a melody with almost full orchestration concluded with triumphant notes, the timpani resounding through the hall at the finale.

Sue Haines

Epsom & Ewell is fortunate to have many excellent music and drama groups to join, learn and perform with, and for audiences to enjoy old favourites or explore something unfamiliar and perhaps a bit challenging.

This lovely concert by Epsom Chamber Choir gave us contrasting styles from the 17th, 18th, 20th and 21st centuries, all with a meditative quality. Good programme notes were helpful.

In the fantastic acoustic of St. Martin’s Church one was immersed in the spacious depths of the sounds; the intensity produced several spine-tingling moments for me.

The choir opened with I was glad when they said unto me – not the familiar setting used at King Charles’ coronation in 2023 (which is by Parry) but one written by Henry Purcell for the coronation of James II in 1685. It sets off in a joyful dance. The top part floated over the others in a plea for peace and it drew to an exultant finish in a wish for world without end.

Purcell’s style is perhaps less familiar to us today than Bach’s, so it was great to hear three more pieces which showed his skill in dramatic and plangent composition, and the choir’s skill in their performance. My notes on Thou knowest, Lord, the secrets of our hearts and Hear my prayer, O Lord say sublime and understated intense anguish – sounds which produced more delightful shivers up the spine.

Then to compare them with Bach across four pieces – in these there were stately dance rhythms and delicacy as befitted some of the words. Fürchte dich nicht (Do not fear, I am near you), probably written for a funeral (it’s a pity we don’t know who commissioned the work), seemed to demonstrate all the complexities which Bach could write in a short piece. I hadn’t heard this before, but it did not sound an easy sing!

In Arvo Pärt’s The Deer’s Cry, written in 2008, the dynamics, sonority and breath were beautifully controlled in some very exposed writing, then the very long lines of John Tavener’s Funeral Ikos were effortlessly phrased.

Three short modern pieces followed – John Tavener’s A Hymn to the Mother of God, James Macmillan’s A Child’s Prayer (dedicated to the 16 children and their teacher who were killed at Dunblane in March 1996), and Eric Whitacre’s Lux Aurumque (Light and Gold, which was introduced as representing light falling through stained glass) – they were full of space, profound, resonant and uplifting.

In the baroque pieces the choir of just over 30 singers had a light accompaniment on chamber organ and cello. Poppy Walshaw, the cellist, also played three movements from the Bach cello suites. This was more music to get lost inside, the two dances leading us into a celebration of life in the joyous Der Geist hilft unser Schwachheit auf (The spirit comes to help our weakness) to conclude a most enjoyable evening.

Upcoming Events

The choir is holding a Come & Sing! Haydn’s The Creation on Saturday 10th May, 1.30–5pm, at St. Martin’s Junior School, Ashley Road KT18 7AD
(£10, students £5, under 18s free – includes music hire and light refreshments).

Their next concert, ‘The Food of Love’, is a choral tapestry ranging from 16th-century fun, through West Side Story, I Got Rhythm and Summertime, to Billy Joel –
Saturday 28th June, 7.30pm, St. Martin’s Church, Epsom KT17 4PX.

Anita Littler

Surrey Arts held its latest Gala concert on Saturday, 15 March, at G Live in Guildford, showcasing the incredible talent of over 300 young musicians from 15 different ensembles. The event featured a diverse array of performances, including original compositions and well-known pieces, highlighting the inclusive spirit of Surrey Arts.  The event included Surrey Arts inclusive orchestra UP! alongside its newest ensemble, World in Music, a diverse group which aims to introduce young people to unfamiliar cultures through both western and non-western musical traditions. 

Sarah Lee, Head of Service for Surrey Arts said: “The Gala is a fantastic event which showcases the talent of our young people from many of our bands, orchestras and choirs. The concert allows young musicians to collaborate with others they would not normally have the chance to play with and gives an opportunity to play in a professional theatre.” 

At the event, Councillor Denise Turner Stewart, Deputy Leader and Cabinet Member for Customer and Communities, said: “It is lovely to be here tonight at the Surrey Arts Gala 2025. I’m really impressed with how hard the children are working.  They are really enjoying themselves this evening and the audience are having a great time. It’s actually really moving to see the effort they are putting into their performances, so I would like to say a big thank you to all the staff and everyone who has organised this tonight.“

The groups performed to a delighted audience with one parent commenting “Thank you to all the members of Surrey Arts staff for putting on such an epic concert! We thoroughly enjoyed it, and it was a pleasure to see the wide range of ensembles run by Surrey Arts, many of which I’d never come across before.” 

Performances from the Gala will soon be available to view on the Surrey Arts YouTube channel. 

Surrey Arts’ ensembles perform at locations across Surrey throughout the year. Visit the Surrey Arts Ensembles webpage to find out more. 

March is concert season at St Martin’s Church, Epsom. Between Ashtead Choral Society on the 8th and Epsom Chamber Choir on the 29th, Epsom Choral Society took their turn on March 15th, with a programme of two favourite pieces from the classical period, performed just the way everybody likes them.

Haydn’s Mass in Time of Troubles, nicknamed in honour of Lord Nelson, has its moments of subtlety and reflection, but when the string orchestra and solo quartet get augmented with trumpets and timpani, it needs a full choral society sound to rise above it and deliver the dramatic moments too.

Conductor Julian Collings likes tempi fast, making the most of the English Sinfonietta, whose string players’ fingers moved so perfectly together they could have been attached to a giant pantograph. That meant the singers, too, had to know their parts thoroughly beforehand—well enough to keep up with the speed of both cascades of notes and a whole booklet of Latin words.

Mozart’s Solemn Vespers covers five whole psalms before the more familiar text of Magnificat, and the words span many human experiences—from justice, compassion, and almsgiving to footstools and skulls. Their weekly practices for the two preceding months had been well spent.

The piece they knew best was the bijou motet Ave Verum Corpus, which they all sang from memory. That meant they could rise and fall musically as one instrument and stay together during the conductor’s extensive rallentando between the two stanzas. The odd forgotten note length matters not at all when the ensemble improves by a leap.

Hearing pieces as familiar as Ave Verum Corpus or Laudate Dominum, the fifth of those Vespers psalms, I am reminded of other times I’ve heard or sung them myself. Next time I hear Laudate Dominum, I shall enjoy being reminded of this performance. Eleanor Pennell-Briggs’ soprano voice has a liquid agility that nourishes every note. Meanwhile, the accompanying choral forces took care to supply the harmony without ever being overpowering.

However easy they were for the listener, these classical-period works pose challenges for the singer. At some distance from the conductor, the basses and tenors did well to keep up with his faster tempi. Everyone had to contend with tricks like tuning odd intervals in the many fugal passages, singing on the beat while the orchestra played off it, or vice versa, and at times, half the choir having to sing a whole movement a few beats behind the other half.

The opening Haydn motet Insanae et Vanae Curae was the only appearance of the main church organ, played by Peter Jaekel. He found some rich and sonorous colours during the outer sections. I always enjoy his playing, but the choir couldn’t quite match his volume. They wisely had to keep enough in reserve for the longer pieces to follow.

Near the end of the Nelson Mass is a minor-key Benedictus movement, with martial trumpets and drums. I was glad to hear the sopranos still had the power to confidently scale past the top of the clef, wholly in the spirit of a ‘time of troubles.’ Likewise, the altos were prepared for some telling moments in the concluding movement of the Creed.

The other three soloists had less chance for display than the soprano. Gavin Horsley sang a prayerful Qui tollis, asking gently for Jesus’ mercy. Beth Moxon demonstrated that she could keep projecting even at the lower realms of a mezzo’s range. In brief solo moments, Paul Hopwood showed signs that he would be comfortable in an even larger venue than St Martin’s Church. All showed delightful awareness of the others during ensemble moments.

The concert ended with Helen Phillips, the choir’s chairman, thanking the audience for providing the motivation that prompted the musicians to put the effort in, taking great pains to make it sound easy. It was a duty I, and all in the building, were very happy to perform.

Nigel Williams

Photo: Epsom Choral Society at St Martin’s Church. Credit Clive Richardson

In a world of disruption and disharmony, Ashtead Choral Society provided something of an antidote in our concert Harmonies of Humanity on 8 March at St Martin’s Church in Epsom. More than a concert, this was an explosive and educational exploration of rhythms and harmonies from around the world.

Our audience may have felt nothing much had changed as we kicked off in traditional mode with 16th-century harmonies—but from a composer based in Mexico. Five magnificent and rarely heard pieces by the French composer Lili Boulanger combined French expressionism with exoticism and mysticism from the first female winner of the Prix de Rome composition. This begged the questions: what might have been?—from a composer who died at 24—and what would she have made of International Women’s Day, which coincided with this concert?

We were delighted to be joined by the Percussion Ensemble of London, who treated our audience to an introduction to the ‘kitchen department’ with demonstrations of tuned and untuned percussion instruments. Who knew that, if hit too many times, the gong-like tam-tam would likely break the church windows?

The second half saw all these forces come together under musical director Dr Andrew Storey with the late David Fanshawe’s African Sanctus. Choir, percussion ensemble, lyric soprano soloist Madeleine Holmes, and pianist Steve Ridge wove in with recordings of music captured by the composer in the 1960s along the Nile River (masterminded from the sound desk by our own Chris Turner). The composer’s intent was to celebrate one people under music, and African Sanctus was something to behold aurally and optically. I hope we provided some hope for and refuge from the unstable and volatile world that our audience returned to at the end of the evening.

We were delighted to receive a letter from David Fanshawe’s wife, noting that he had studied under Boulanger’s sister and knew the composer of the Gospel Gloria, Dillo Dilworth, which we performed twice—once as an encore. We were also delighted that so many of our audience took time to say how much they enjoyed a different approach to the traditional concert format, which included short talks and percussion demonstrations. And we were thrilled that a few audience members liked the evening so much they enquired about joining the choir.

With that in mind, we are recruiting new singers of all voice parts as we grow from a current 100 members to 120. We welcome those keen to join a choir that performs the big choral works with professional orchestras and top soloists.

If you are interested in joining, do come along to our free event on the morning of 22 March in Ashtead to experience singing with us and discover the work we will be tackling at our concert on 24 May: Dvořák’s Stabat Mater.

www.ashteadchoralsociety.org

Vincent Desmond, Chair
Ashtead Choral Society

Passengers at Tattenham Corner station will soon be welcomed by a brand-new display of artwork, thanks to a creative collaboration between local students and The Arts Society Epsom.

Led by Carol Skelton, Arts Coordinator, Year 6 students from Epsom Downs Community School have explored block printing and etching on polystyrene sheets to create Greek vase designs inspired by renowned printmaker Patrick Caulfield’s Pottery 1969.

The project has been supported by The Arts Society Epsom, with Angie Child, Head of Young Arts Volunteering, overseeing the initiative. It follows the launch of a permanent art display at Epsom Station in October 2024, created by students from Nescot College of Technology.

Part of the national Art@TheStation initiative, the project is backed by The Arts Society’s head office in London and funded by Southern Railway. The goal is to showcase local primary school artwork, bringing creativity into public spaces and enriching the experience of travelers passing through the station.

Next time you’re at Tattenham Corner station, take a moment to admire the talent and creativity of these young artists!