Magnificat - Rutter​​

John Rutter’s Magnificat, first performed in 1990, is bright, rhythmic and uplifting. Inspired by vibrant festival celebrations in Spanish-speaking countries, it sparkles with energy and moments of calm reflection. Rutter was influenced by Bach’s setting, and although written more than 250 years apart, both works bring sacred texts to life with memorable melodies, expressive choral writing and a shared spirit of joy and praise. The work is full of energetic, syncopated rhythms and strong melodies, with more than a hint of the musical theatre from time to time.

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Benedicite - Vaughan Williams​

Benedicite was the largest and most complex of three short works written by VaughanW illiams for the silver jubilee of the Leith Hill Musical Festival at Dorking in 1930.

Reciting words from the Song of the Three Holy Children (a text from the Apocrypha), the Benedicite is a canticle used in Catholic worship during the Liturgy of the Hours. Vaughan Williams also uses lines from John Austin’s hymn Hark, my soul.

Musically, the work has a very recognisable Vaughan Williams style, combining rich, full choral and orchestral sections with quieter, more reflective moments. At times, a soft soprano solo rises gently above the choir, creating a calm and flowing effect.

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Holberg Suite - Grieg​

The Holberg Suite, Op. 40, is a suite of five movements based on eighteenth-century dance forms, written by Edvard Grieg in 1884 to celebrate the 200th anniversary of the birth of Dano-Norwegian humanist playwright Ludvig Holberg (1684–1754).

It exemplifies nineteenth-century music which makes use of musical styles and forms from the preceding century. Although not as famous as Grieg's incidental music from Peer Gynt, which is itself usually performed as arranged in a pair of suites, many critics regard the works as of equal merit.

It is played in this concert by Alina Orchestra.

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