Our East Anglian-based correspondent, Tony Cooper, reports on the Norwich Philharmonic Society returning to their roots at St Andrew’s Hall, Norwich, after a two-year absence.

Manuscript score, signed by the composer and the performers of the premiere

One of England’s greatest choral works, Elgar’s The Dream of Gerontius, has excitingly been put centre stage in Alan Bennett’s brand-new film The Choral but a ‘live’ performance coming up in Norwich in March, staged by the Norwich Philharmonic Society, promises to be just as exciting. 

Sir Edward Elgar’s mighty, inspiring and fulfilling choral work, The Dream of Gerontius, a setting of Cardinal John Henry Newman’s 1865 poem exploring Catholic beliefs about the afterlife and so forth, traces the soul of Gerontius, a devout being, as he experiences death guided by his Guardian Angel, facing demons and encountering God before settling in Purgatory. The work has forged, perhaps, a new audience through Alan Bennett’s 2025 film aptly entitled The Choral.  

A staple of choral societies up and down the country, especially the Norwich Philharmonic Chorus, but for the Huddersfield Choral Society, Gerontius - which Elgar considered his finest piece - has become more than a masterpiece, it has become a living act of remembrance.  

Founded in 1836, the Huddersfield Choral Society remains one of Britain’s best-loved and most historic choirs. Its connection with Elgar runs deep as it first performed Gerontius in 1905 with a further performance in 1907 and again, of course, under Elgar in 1917 while making the first complete recording of the work in 1945. 

The scenario of The Choral focuses on young healthy bloods being conscripted to fight in the First World War thereby leaving the local choral society seriously short of male voices. Helping to solve the problem, they recruit able teenage boys to fill their places while the chosen conductor, an unconventional German-educated choirmaster named Dr Guthrie (played by Ralph Fiennes) delicately and patiently prepares them for a performance of Gerontius in a seemingly desolate and lonely Yorkshire village in 1916.  

Also starring Roger Allam and Simon Russell Beale, this brilliant film focuses on the power of music to unite a fractured community while balancing high art against everyday life. In essence, The Choral is a story of community resilience and finding common ground through music in dark times and, typical of Alan Bennett’s inimitable style, he blends comedy with the seriousness of wartime reality. 

Premièred on 3rd October 1900 at Birmingham Town Hall, under the baton of Dr Joseph Bennett as part of the Birmingham Triennial Festival, the performance of Gerontius suffered from a lack of rehearsal and, therefore, received a poor response. However, despite the initial failure, perceptive listeners recognised its genius and successful performances in Germany helped to popularise the work.  

Eight years after its Birmingham première, Gerontius was heard in Norwich in a concert forming part of the 1908 Norfolk & Norwich Triennial Musical Festival at St Andrew’s Hall conducted by festival director, Henry Wood, founder of the Proms. The soloists comprised tenor John Coates (Gerontius), mezzo-soprano Muriel Foster (The Angel) and bass Herbert Brown (The Priest/The Angel of Agony). 

Well known for its dramatic contrasts, emotional depth and, indeed, Wagnerian scope, the work’s divided into two parts and features memorable choruses such as the Demons’ chorus as well as a host of beautiful solos culminating and depicting the famous and consoling ‘Angel’s Farewell’ forming the serene and compassionate final section of Gerontius describing the moment the Angel lowers the newly-judged soul of Gerontius (an Everyman figure) into the cleansing waters of Purgatory. 

A century after it sang through wartime, the Huddersfield Choral Society reunites with Gerontius in a major new recording, thereby echoing the story that inspired Alan Bennett’s film. In the midst of the turmoil and trench warfare of the First World War, the Society performed Gerontius under Elgar in 1917. Twenty-three of its members were ‘serving’ at the time. Two basses, Lewis Walker and Frank Rushfirth, never came back. Yet the choir carried on, raising funds for the war effort and earning Elgar’s praise for one of the finest performances of his career.  

And a further century on that same choir’s voices rise once again in an excellent recording of Gerontius by Hyperion conducted by Martyn Brabbins with the Orchestra of Opera North featuring David Butt Philip, Karen Cargill and Roland Wood recorded in Huddersfield Town Hall. 

Directed by Nicholas Hytner, The Choral vividly tells the story of a Yorkshire choir determined to keep music alive while its men are called to the Front. The theme closely echoes Huddersfield’s own history. ‘The parallels between the film and our own history are striking,’ says Sir John Harman, General Secretary of the Huddersfield Choral Society. ‘During the First World War our members continued to sing even as many went off to serve - and we still perform Gerontius today with the same conviction. The new Hyperion recording feels like a fitting way to celebrate that continuity across more than a century of voices.’ 

Artistic Director of the National Theatre from 2003 to 2015, Nicholas Hytner championed Alan Bennett, making him one of the theatre’s most important resident playwrights. Therefore, Hytner and Bennett shared a prolific and celebrated creative partnership at the National with Hytner directing many of Bennett's major hits including The History Boys, The Madness of George III and The Lady in the Van thereby building a deep trust with this esteemed Yorkshire-born playwright in a collaboration spanning decades and defining a significant era of the National Theatre’s success. They produced multiple award-winning plays often exploring themes of education, history and British identity and shows that redefined theatre for a younger, broader and more enlightened audience.  

Following closely the founding of the Huddersfield Choral Society in 1836, the Norwich Philharmonic Society (NPS) was founded three years later by Frank Noverre, grandson of French dancer, Augustin Noverre, who in 1775 came to England with a corps de ballet at the invitation of David Garrick, one of England’s greatest actors, who at that time was also manager of the Theatre Royal, Drury Lane, where the dancers appeared.  

Therefore, the NPS (comprising the Norwich Philharmonic Orchestra who co-opted the Norwich Choral Society for its choral concerts) made its public début two years later - 5th March 1841. Richard Bray, a well-known Norwich musician led from the violin while the orchestra comprised just 15 string players, a small woodwind section and a piano.  

Works by Mozart, Beethoven, Handel and Rossini formed part of a substantial programme of 14 items. Other composers represented were de Beriot, Clifton, Rooke, Kalkbrenner, Andreozzi, Paer, Stevens and John Parry - all of them were active in the early- to mid-19th century but largely forgotten about nowadays. 

After retiring from the stage, Augustin settled in Norwich and set up a dancing academy at the Assembly Rooms in Theatre Street - now the Assembly House. This was inherited and expanded by his grandson, Frank, a man of wide artistic sympathies. For instance, he was treasurer of the Norwich Choral Society and one of the keenest supporters of the Norfolk & Norwich Triennial Musical Festival founded in 1824 by Richard Mackenzie Bacon, proprietor and editor of the Norwich Mercury who married the sister of Augustin. 

Following the death of Frank, his son, Frank William Bianchi Noverre, continued the family tradition with the Philharmonic and Triennial. Come the 1880s, a Ladies’ Orchestral Society was founded which flourished for a considerable number of years. 

The Norwich Philharmonic Society held its centenary concert in Noverre’s Assembly Rooms in 1901, the ‘first’ to be conducted by Dr Frank Bates who succeeded Dr Horace Hill who, in turn, was preceded by Dr F E Gladstone, organist of Norwich Cathedral. He duly followed James Harcourt who took over from Richard Bray, the original conductor, in post for 35 years. 

Dr Bates conducted the 200th concert of the NPS in 1924 when Dame Myra Hess appeared as soloist in Beethoven’s Fourth Piano Concerto. After retiring in 1928, he was succeeded by Dr Heathcote Statham who had just been appointed organist to Norwich Cathedral. He reigned for 32 years. 

The Norwich Philharmonic Chorus was formed as an entity of its own in 1930 under the umbrella of the NPS. Until then choral works were given in collaboration with the Norwich Choral Society. The 300th concert in 1947 proved a special occasion with a grand performance of Handel’s Messiah with Dr Statham conducting and Peter Pears among the soloists. Another interesting concert came about in February 1955 which included Britten’s Serenade for Tenor, Horn and Strings featuring Peter Pears conducted by Dr Statham with the composer present. 

In 1963, the conductor, Antony Hopkins, struck up a partnership with the NPS that lasted for seven highly successful seasons while in the 1971/72 season Julian Webb (orchestra) and Michael Nicholas (chorus) carried out their respective duties thus being the first to share the conductorship in this way, an arrangement which worked extremely well and continues to this very day. Under their guidance the NPS raised its standards frequently being praised by the coterie of distinguished soloists and musicians that came its way. 

Complementing Michael Nicholas’s long and highly esteemed tenure, David Dunnett, organist of Norwich Cathedral (as, too, was Michael Nicholas) was appointed choral conductor in September 1996 retiring from the role at the end of the 2023/24 season after 28 years of loyal service (now President of the Norwich Philharmonic Society) thus giving way to Organist and Master of Music of Norwich Cathedral, Ashley Grote. 

Following Julian Webb’s retirement in March 2003, after 32 years as orchestral conductor, the NPS enjoyed two brief periods with Russell Keable from 2004 and Peter Britton from 2008 before appointing and offering the baton to Matthew Andrews in 2010 who continues to guide the Phil’s orchestral interpretations to this day. He hit the ground running, though, on his début by delivering an outstanding performance of Mahler’s Second Symphony.  

Ashley Grote will, of course, conduct the forthcoming performance of The Dream of Gerontius in St Andrew’s Hall, Norwich (Saturday, 21st March, 7.30pm) featuring the Norwich Philharmonic Chorus and Norwich Philharmonic Orchestra, their first concert in the venue following a two-year period of extensive refurbishment. An excellent team of soloists comprises Gwilym Bowen (tenor), Diana Moore (mezzo soprano) and Ashley Riches (baritone). Interestingly, this will be the third time that Diana Moore has sung the role of the Angel for NPS, a role ideally suited to her wonderful and articulate voice. 

From an historical perspective, there have been six previous performances of Gerontius by the Phil in St Andrew’s Hall: June 1957, February 1974, February 1982, February 1987, March 2008, November 2015 not forgetting, of course, the 1908 Norfolk & Norwich Triennial Musical Festival staging at St Andrew’s Hall conducted by Henry Wood. As the comprehensive records of Phil performances can only be traced back to 1948, other performances, no doubt, were staged to those already mentioned. 

Although Elgar was gaining popularity in England, he was more popular in Germany especially in the early 20th century. Hans Richter championed his music and conducted the London première of Enigma Variations in 1899 and Symphony No.1 (which he famously called the ‘greatest symphony of modern times’) at the Free Trade Hall, Manchester with the Hallé on 3rd December 1908 in a triumphant and stand-alone performance. He significantly raised the standards of the Hallé of which he was principal conductor and duly became a pivotal figure in bridging German Romanticism with British music. 

Dedicated to Hans Richter - ‘a True Artist and True Friend’ - Elgar’s Symphony No.1 was the first great breakthrough for English symphonic music and was met with overwhelming enthusiasm from critics and audiences alike cementing its place as a ‘landmark’ work in classical music that catapulted Elgar to immediate global acclaim while paving the way for other English composers. 

Another German conductor who greatly favoured Elgar was Julius Buths who conducted an acclaimed performance of Gerontius in Düsseldorf in May 1902 following a successful earlier performance there in 1901. These performances were pivotal in establishing the oratorio’s reputation and, indeed, establishing Elgar as a major European figure before gaining his full fame in Britain. His Austro-German musical influences made him particularly appreciated in Germany though his popularity waned following the outcome of the First World War. 

Enjoying a close relationship with Wagner, Richter prepared the printed scores for Die Meistersinger von Nürnberg and the Ring of the Nibelung. In fact, he conducted the first complete performance of the Ring cycle at the Bayreuth Festival in 1876, a landmark event in music history. Maestro Richter also introduced Wagner’s works to English audiences conducting the London premières of Die Meistersinger and Tristan und Isolde. 

Therefore, 2026 marks the 150th anniversary of the founding of the Bayreuth Festival currently under the artistic direction of Katharina Wagner, daughter of Wolfgang Wagner and great-granddaughter of Richard Wagner and, indeed, great-great granddaughter of Hungarian composer, Franz Liszt. Such rich heritage! 

But looking back to the era of the Noverre family and their dedication not only to the Norwich Philharmonic Society but to the general well-being of the arts and cultural life of the city of Norwich, we have today functioning on all cylinders another Norwich-based family following suit, the philanthropic and arts-friendly Jarrold family, whose business was founded on print and publishing but nowadays focuses more on retail and fashion not forgetting, of course, their delicious well-stocked food hall found in their flagship store prominently located on the corner of London Street and Exchange Street by Norwich’s historic Norman market-place, a rendezvous spot for one and all much in the same way that the old Swan & Edgar department store in Piccadilly Circus used to be. 

Caroline Jarrold (the eldest daughter of Richard and Waltraud Jarrold) is highly active and immersed in the Norwich arts scene. She’s chair of the Norwich Philharmonic Society (who, by the way, won the Norfolk Arts Award for Music in 2025) and together with her sister, Michelle, is also a member of the Norwich Philharmonic Chorus. 

And Caroline’s German-born mother, Waltraud, who was raised in Winnegen, an idyllic and pretty wine village nestling the banks of the Moselle near Koblenz, was the force behind the twinning link between Norwich and Koblenz. Radiating through this fine partnership (which commenced in 1980) led to the Norwich Philharmonic Chorus joining forces on a regular basis with the Chor des Musik-Institut Koblenz to perform grand works from the choral repertoire. For instance, they gave a grand and telling performance of Gerontius in the inviting and comfortable Rhein-Mosel-Halle in March 2008. 

As an aside, the notable and distinguished German composer, Richard Strauss, who wrote Der Rosenkavalier, also championed Elgar regarding him as a fellow progressive composer. He said that The Dream of Gerontius was a masterpiece. Indeed, it is! 

Still thinking of Elgar. He often visited Norwich to conduct at meetings of the Norfolk & Norwich Triennial Musical Festival in St Andrew’s Hall and on one notable occasion he conducted Clara Butt in the première of his song-cycle Sea Pictures (a N&N Triennial commission) in October 1899. To the delight of a packed and enthusiastic house, she appeared on stage dressed as a mermaid. 

Norwich Philharmonic Society 
Elgar’s The Dream of Gerontius 
St Andrew’s Hall, Norwich  
Saturday 21st March (7.30pm). 
Booking: ONLINE www.ticketsource.co.uk/norwichphil 
PHONE 0333 666 3366 (Mon-Sat 9am-5pm excluding public holidays)  

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