Summer Concert 27 June 2026

Composed in 1980, For the Beauty of the Earth is one of John Rutter’s most widely performed works and reflects his gift for writing music that is both immediately appealing and carefully crafted. Setting a familiar hymn text, the piece expresses gratitude for the natural world and human connection with warmth and generosity.

The music unfolds in broad, flowing phrases, supported by clear tonal harmony and gentle rhythmic motion. Subtle harmonic shifts add colour without disturbing the overall sense of ease. The piano accompaniment enhances the brightness of the texture, helping to establish an open, welcoming atmosphere at the start of the concert.

For the beauty of the earth For the beauty of the skies For the love which from our birth Over and around us lies Lord of all, to thee we raise This our joyful hymn of praise	For the joy of human love Brother, sister, parent, child Friends on earth and friends above For all gentle thoughts and mild Lord of all, to thee we raise This our joyful hymn of praise
For the beauty of each hour Of the day and of the night Hill and vale and tree and flower Sun and moon and stars of light Lord of all, to thee we raise This our joyful hymn of praise	For each perfect gift of thine To our race so freely given Graces human and divine Flow'rs of earth and buds of heav'n Lord of all, to thee we raise This our joyful hymn of praise

Composed in 1831, Verleih uns Frieden (“Grant us peace”) sets a Lutheran prayer text that had already inspired earlier composers. Mendelssohn’s setting is notable for its clarity and sincerity, avoiding complexity in favour of direct communication.

The predominantly homophonic choral writing ensures that the text remains central. Harmonies are warm and stable, with subtle expressive colouring rather than overt contrast. The piano accompaniment gently underpins the vocal lines, contributing to the work’s atmosphere of calm assurance.

Verleih uns Frieden gnädiglich, Herr Gott, zu unsern Zeiten; Es ist doch ja kein andrer nicht, Der für uns könnte streiten, Denn du, unser Gott, alleine.

Grant us peace graciously, Lord God, in our time; there is indeed no other who could fight for us than you, our God, alone.

From prayers of thanks and peace, the programme now turns to songs of praise and jubilation. First, Lodovico Grossi da Viadana' setting of Psalm 33, Exsultate, justi, in Domino, is a call to praise: ‘Rejoice in the Lord, O you righteous'. It invites us to give thanks, to ‘sing to him a new song', and to accompany that praise with instruments.

The music, in 3 time, reflects this sense of shared celebration and dance. He voices often move together(in homophony), dancing and proclaiming together as one. Livelier sections and more rhythmical moments suggest the energy of music-making described in the text, particularly where it refers to instruments like the harp and the lyre (an ancient stringed instrument).

Exultate, justi, in Domino; rectos decet collaudatio. Confitemini Domino in cithara; in psalterio decem chordarum psallite illi. Cantate ei canticum novum; bene psallite ei in vociferatione.

Rejoice in the Lord, O ye just; praise befits the upright. Give praise to the Lord on the harp sing to him with the psaltery, the instrument of ten strings. Sing to him a new canticle, sing well unto him with a loud noise.

Completed in 1990, Rutter’s Magnificat is a substantial work that nevertheless retains an accessible and celebratory character. Drawing on both liturgical tradition and a more contemporary choral idiom, the piece balances exuberance with moments of lyrical intimacy.

Across its movements, Rutter employs rhythmic vitality, memorable melodic writing, and bright harmonic colour. The piano plays an integral role in shaping the work’s energy, providing sparkle and drive while supporting the choral textures. As the final work in the programme, the Magnificat brings the concert to a joyful and affirmative conclusion.

Magnificat anima mea Dominum: et exsultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillae suae: ecce enim ex hoc beatam me dicent omnes generationes.

My soul doth magnify the Lord: and my spirit hath rejoiced in God my Saviour. For he hath regarded the lowliness of his hand-maiden: for behold, from henceforth all generations shall call me blessed.

Of a Rose, a lovely Rose, Of a Rose is all my song.

Hearken to me, both old and young, How this Rose began to spring;
A fairer rose to mine liking In all this world ne know I none.

Five branches of that rose there been, The which be both fair and sheen;
The rose is called Mary, heaven's queen. Out of her bosom a blossom sprang.

The first branch was of great honour: That blest Marie should bear the flow'r;
There came an angel from heaven's tower To break the devil's bond.

The second branch was great of might, That sprang upon Christmas night;
The star shone over Bethlem bright, That man should see it both day and night.

The third branch did spring and spread; Three kinges then the branch gan led
Unto Our Lady in her child-bed; Into Bethlem that branch sprang right.

The fourth branch it sprang to hell, The devil's power for to fell:
That no soul therein should dwell, The branch so blessedfully sprang.

The fifth branch it was so sweet, It sprang to heav'n, both crop and root,
Therein to dwell and be our bote: So blessedly it sprang.

Pray we to her with great honour, She that bare the blessed flow'r,
To be our help and our succour, And shield us from the fiendes bond.

Quia fecit mihi magna qui potens est: et sanctum nomen eius.
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

For he that is mighty hath magnified me: and holy is his Name.
Holy, Holy, Holy, Lord God of hosts. Heaven and earth are filled with thy glory. Hosanna in the highest.

Et misericordia eius a progenie in progenies timentibus eum.

And his mercy is on them that fear him throughout all generations.

Fecit potentiam in brachio suo: dispersit superbos mente cordis sui. Deposuit potentes de sede, et exaltavit humiles.

He hath shewed strength with his arm: he hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seat, and hath exalted the humble and meek.

Esurientes implevit bonis: et divites dimisit inanes. Suscepit Israel puerum suum, recordatus misericordiae suae. Sicut locutus est ad patres nostros, Abraham et semini eius in saecula.

He hath filled the hungry with good things: and the rich he hath sent empty away. He remembering his mercy hath holpen his servant Israel. As he promised to our forefathers, Abraham and his seed for ever.

Gloria Patri, et Filio, et Spiritui Sancto.

Glory be to the Father, and to the Son, and to the Holy Ghost.

Jacob’s musical training began as a chorister at Westminster Abbey. He is a former organ scholar and music graduate of Keble College, Oxford, and completed his MA in Ensemble Singing at the University of York in 2018.

Upon graduating, Jacob conducted the choir of Lincoln College, Oxford (2016-17). As a singer, he now works regularly with groups such as The Monteverdi Choir, Tenebrae, I Fagiolini, Apollo5, London Voices, and the BBC Singers.

He is also a producer, working most recently for Sony and Signum Records, with groups such as Tenebrae, Siglo de Oro, The Marian Consort, SANSARA, and Gramophone Award-winning, Ensemble Plus Ultra.

 

Yorkshire-born soprano Amy Wood began singing as a chorister in Sheffield Cathedral Girls’ Choir, before going on to study at Manchester University. Recent engagements have included solos in Handel’s Messiah in Southwell Minster, Monteverdi Vespers with I Fagiolini in Salisbury and the Isle of Wight, and Bach Cantatas in Vienna, Versailles, Athens and Budapest with John Eliot Gardiner. In March 2025 she recorded a solo aria for The English Concert’s new recording of Handel’s Esther (Peter Whelan). She also sang at the Coronation of King Charles.

Amy sings regularly with many of the top professional choirs in the UK, including John Eliot Gardiner’s Constellation Choir & Orchestra, I Fagiolini, The BBC Singers, Arcangelo, The Eric Whitacre Singers and La Nuova Musica. She is also a member of the Choir of the London Oratory. She has appeared in many film, TV and computer soundtracks as a choir member, including Jurassic World and Fantastic Beasts and Where to Find Them. She appears as the solo vocalist on the opening credits to Paul Verhoven’s film Benedetta and on the BBC series Black Narcissus. Amy is a qualified psychotherapist and runs a busy private practice alongside her singing.

Noted for “spectacular, sensitive and vivid accompaniment” (The Latest) and a “superbly voiced instrumental partnership of his singer” (Sussex Express), George Ireland enjoys a thriving career, equally in demand in recital, opera and choral music. He has recently worked with the youth companies of the Royal Opera House and Glyndebourne, as well as Grange Park Opera, Waterperry Opera Festival and West Green House Opera.

He is the winner of the 2024 New Voices Competition at the Northern Aldeburgh Festival with Mezzo-Soprano Judith Lebreuilly, adjudicated by Sir John Tomlinson, Edward Gardner and Sholto Kynoch, and with Mezzo-Soprano Rebecca Leggett won the 2022 London Song Festival Masterclass and British Art Song Competition with Sir Thomas Allen. He accompanied Soprano Oksana Lepska's winning recitals at the 2022 National Mozart Competition in London, and the Kathleen Ferrier Award-winning recitals of Countertenor Hugh Cutting and Soprano Jessica Cale in 2021 and 2020.

Soprano
Sandra Andrews, Alison Chubb, Jennifer Griffiths, Sian Morten, Aleksandra Povazhnaia, Rosie Sotillo, Jen Walker, Lindsey Watson, Jessica Wright

Alto
Olivia Buckley, Sue Davis, Judith Jackson, Lesley Jones, Rosemary Leeke,
Rosemary Lucas, Sarah Norton, Stephanie Shaw

Tenor
Ruth Clifford, Rib Davis, Will Dewar, Andy Swordy, Jezz Tennant, Julian Tucker

Bass
Edward Cieslik, Jim Cohen, James Dodd, Dan Simons

 

We were very sorry to lose one of our longest serving former members, Brian Seaman, in March this year. Brian was an accomplished musician, beginning his singing life as a boy chorister, then as a professional church musician, in cathedrals and churches in and around London. He was also much sought after as a choral singer and soloist in London’s many choirs. In the mid-1970s he was recruited as an extra, to boost the tenor line in East London Chorus (then known as NELP Chorus). He remained a familiar face and voice in the choir’s tenor section until three years ago when failing health led him, reluctantly, to retire from the choir.

Over the years, Brian also supported ELC in other ways, serving in several different roles: committee member, Chair, Treasurer and in the production and printing of concert programmes. He was a true friend to the choir.

Lassus and Cherubini

Saturday 21 November 2026, 6.30 pm

St Mary’s Parish Church Woodford E18 2PA

 

Family Christmas Concert

Sunday 13 December 2026, 4.00 pm

Christ Church Wanstead E11 2SW 

We rehearse at Chobham Academy Specialism Building, Stratford E20 1BD (on the corner of Celebration Avenue and Temple Mills Lane) on Tuesday evenings. We hold open rehearsals at the start of each term so that you can try us out before joining us. Our next Open Rehearsals will be on Tuesday 8th and Tuesday 15th September from 7 to 9 pm. If you would like to attend one of these, please contact our membership secretary, Rosemary Lucas, at membership@eastlondonchorus.org.uk to make arrangements.

After that, if you'd like to join us, recruitment is by a simple audition with our Musical Director, Jessica Norton.

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