This years concert was held in Derby Cathedral because the Assembly Rooms

were closed, providing both challenge and opportunity sightlines were less
clear, seats less comfortable and facilities more limited - but for me these were
more than outweighed by the splendid acoustics and the Cathedral staff had
worked hard to ensure that the Cathedral looked a splendid setting for such a
concert.
After the opening carol, the concert began with a controlled performance of
Harold Darkes In the Bleak Mid-winter including a gentle solo from Gillian von
Fragstein and some nicely balanced unaccompanied choral singing. This was
followed by You Raise Me Up with a haunting flute solo by Julia Auer (one of the
highlights of the evening, though the MD could have taken this a little quicker)
congratulations also to the semi-chorus who at one point sang over the rest of
the choir.
Derwent Brass reminded us how skilled they are with a well thought out selection
of items some lively and syncopated, others smooth and mellow. They handled
the Jazz Suites complex rhythms effortlessly under Keith Leonards polished
direction. It was a pity we could not see the band more clearly - it was always
going to be a squeeze to get 160 performers in but actually you did not need to
see them just to close your eyes and listen. Likewise It came upon a Midnight
Clear and Good King Wenceslas had a good contrast of styles.
Two sacred choral pieces How Can I Keep from Singing & For the Beauty of the
Earth followed, with clear diction in both and a particularly fine ending to the
former, aided by Tom Corfields sensitive organ accompaniment. The foottapping The Lion Sings Tonight gave the choir their first opportunity to let their
hair down performed with bounce and obvious enjoyment. Adiemus had a sense
of growth from the lower parts coupled with exciting interjections from the 1 st
Sopranos and another opportunity to hear Julia Auers spine tingling flute
playing. The first half closed with a tremendous performance of Every Time I
Feel the Spirit; the choir particularly excelled themselves in the driving, rhythmic
A-Capella section, leaving everyone feeling upbeat for the interval.
Jingle Bell Rock was given a new lease of life as it gradually got faster and faster,
contrasting nicely with the laid back jazzy Come Emmanuel containing some
great dynamic contrast and reminding us of the true meaning of Christmas.
Popular local celebrity Charles Hanson kept us entertained between items with a
mixture of bonhomie and cracker jokes. The Band then played The Wonder of
Christmas a lively compilation of Christmas tunes, and Sweet Little Jesus Boy performed with a beautifully tranquillity.
The Rose was sung with delicacy and pathos, sensitively accompanied with a
hear-a-pin-drop ending. Though there was a moment in this piece when the
men got a little ahead, generally credit should go to the men throughout the
concert in overcoming the imbalance of forces with the ladies. More men please!
Bridge over Troubled Water was an enjoyable arrangement written for the choir
and was much appreciated by the audience. All greatly enjoyed the Wartime
Sing-Along and the audience seemed unfazed at being asked to reprise two of
the tunes simultaneously
The final section comprised a lively arrangement of Cantemos a Maria sung with
joy, and the uplifting O Holy Night in which Gillian von Fragstein soared over the

choir aided by the splendid acoustic of the Derby Cathedral. A fine way to end
what I overheard many saying was their best concert yet. Fabulous!

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