Ryedale Festival’s magical community song cycle Across The Whinny Moor celebrates the Lyke Wake Walk at St Peter’s Church

Ryedale Primary Choir: Ready to take part in Across The Whinny Moor, the Ryedale Festival community song cycle

DO you believe in magic? Mezzo-soprano Victoria Simmonds, storyteller Rosie Barrett and an all-age Ryedale cast bring cheeky hobs, angry mermaids, resourceful giants and wise witches to life in Ryedale Festival’s community song cycle Across The Whinny Moor on Saturday afternoon at St Peter’s Church, Norton.

Inspired by the Lyke Wake Walk, this evocative and mysterious tapestry of magical thinking, Yorkshire superstitions and the power of imagination is packed full of local folk legends.

The song cycle gently follows the route of the 42-mile walk across the highest and widest part of the North York Moors National Park, dwelling in spots of interest to explore stories such as The Ballad of Wade and Bell, where, at Wade’s Causeway, the songs tell of mermaids as the first glimpses of the sea come into sight.

Saturday’s 4pm world premiere will feature a cast of more than 100 schoolchildren and amateur singers, who have co-created Across The Whinny Moor with composer John Barber and writer Hazel Gould.

Mezzo-soprano Victoria Simmonds

Developed through sessions in Ryedale schools, a one-off event for young people and online workshops with choir members, together they have explored local folklore and ideas, creating new segments of text and music that Barber and Gould have worked into the new song cycle.

Conducted by Caius Lee, the Ryedale Primary Choir schoolchildren and the Ryedale Voices, Harmonia and The RyeLarks choirs will be joined by Kirkbymoorside Town Junior Brass Band, Simmonds and Barrett.

Alison Davis, who runs the three adult choirs, says: “We are thrilled to be part of this community song cycle and have enjoyed working with John and Hazel since January. It was great to see them at choir rehearsals and they’ve taken away a good idea of our level and style and have written some incredible original material for us, quite different from our usual music.”

In amongst the new music, Simmonds will sing works by Schubert (The Erl King), Handel and Rebecca Clarke. Shining Brass will play Mendelssohn’s Baba Yaga and traditional folk tunes, such as The Lyke Wake Dirge and The Lark In The Morning, arranged by Barber.

Ryedale Voices: One of the choirs performing at St Peter’s Church, Norton

Rosie Barrett creates original stories that bring heritage to life, often commissioned by museums, including Ryedale Folk Museum, Hutton-le-Hole, where she has worked on its latest exhibition, Believe It Or Not?

Running until November 17 (closed on Fridays), the exhibition showcases more than 200 objects connected with magical thinking and folk beliefs, many of them being explored in Across The Whinny Moor.

Rosie says: “I’ve always had a particular fondness for folklore, which I believe connects us deeply with our ancestors. When we hear the stories that the people of the past heard, we are sharing in the emotions and experiences that they shared, and, by reinventing folk tales, we ensure that they stay relevant for each generation. “

Writer Hazel Gould says: “I love to go walking and often use walking time as a way to clear my head. If I can resist the temptation to listen to a podcast or music, the time I spend walking can often be incredibly helpful if I have an idea that I’m struggling with or need to develop.

Harmonia: On song for Across The Whinny Moor

“There’s something about the rhythm of walking that allows my thoughts a bit of free range, away from the distractions of a busy life, and it becomes a place where the imagination can blossom. 

“Walking and stories seem to be perfect partners, so we were delighted to discover more about the Lyke Wake Walk and wanted to use this map across the moors as a way to bring together some of the stories from the rich folklore of the region.”

Hazel continues: “It has been a huge pleasure to learn more. I have loved working alongside our primary school groups and adult choirs to talk about these tales and create songs together, from angry hobs to misunderstood women, sometimes called witches. We hope you like it too.”

Festival artistic director Christopher Glynn says: “Enabling and celebrating local music making is very important to the festival. Presented in association with the Richard Shephard Music Foundation and Ryedale Folk Museum, Across The Whinny Moor brings together the Ryedale Primary Choir, storyteller Rosie Barrett, local choirs run by Alison Davis, the Kirkbymoorside Town Junior Brass Band, star mezzo-soprano Victoria Simmonds and conductor Caius Lee.

Sing when you’re swinging: Ryedale Primary Choir

“John and Hazel have harnessed the rich and wild ideas of all these performers, and we are very excited to hear the result on June 8. Join us!’’

Music foundation chief executive officer Cathy Grant says: “The young people involved in the community song cycle have been brought together by the Richard Shephard Music Foundation, the charity helping to increase musical opportunities for children in our region.

“They come from the Ryedale Primary Choir and local primary schools and are aged between seven and 13. Overall, around 120 children have taken part in songwriting workshops, in-school singing workshops or choir rehearsals, and a group of these will be in the final performance on Saturday, singing alongside the adult choir and other musicians.”

Ryedale Festival presents Community Song Cycle: Across The Whinny Moor, a walk through stories and songs by John Barber and Hazel Gould, world premiere, St Peter’s Church, Norton, June 8, 4pm. Box office: ryedalefestival.ticketsolve.com/ticketbooth/shows/1173652657.

Victoria Simmonds performing at the world premiere at St Peter’s Church on June 8
Ryedale schoolchildren singing at the Across The Whinny Moor premiere

REVIEW: Steve Crowther’s verdict on The 24, Sir Jack Lyons Concert Hall, University of York, November 22

Conductor Sarah Latto

THE core of this wonderfully programmed concert was the sensuous, perhaps even erotic text of the Song Of Solomon.

The poem celebrates love in an invitational courtship: two lovers singing to each other, desiring each other. They are in harmony in a God-free narrative that celebrates humanity.

This was particularly striking in Raffaella Aleotti’s setting of Ergo flos campi where the two lovers take the form of two unequal choirs. The energetic antiphonal exchanges were beautifully delivered by the singers.

The24’s concert opened with Flemish composer Clemens non Papa’s setting of the same text. This was a refined, controlled performance where the weaving of the seven-part setting was delightful. The balance was impeccably judged.

I was going to mention the striking high versus low setting of the ‘lily between thorns’, but as it was highlighted in the programme notes I’ve decided not to bother. I really enjoyed the ebb and flow of Hildegard of Bingen’s Flos Campi. The musical experience was undoubtedly spiritual.

James MacMillan’s setting of Robert Burns’ The Gallant Weaver was a secular musical match made in heaven. The work is brimming with the distinctive influence of Scottish folk music – the rich ornamental inflections or decoration was delightfully executed, as well as Gaelic Psalmody.

The overall effect was generally peaceful; the voicing was inspired with triple soprano divisions and gentle hanging dissonances that were exquisite. The only issue I had was the exposed bass and tenor setting of the words ‘the gallant weaver’, which jarred. Sir James, I suspect, not the choir.

The 24: “Radiating warmth and joy”

I personally find Morrissey a charmless, narcissistic individual, but there is no doubting his ability as a songwriter and performer. I really like The Smiths’ There Is A Light That Never Goes Out (written by him and guitarist Johnny Marr), and I found this arrangement by Sarah Latto and the performance itself quite sublime. It was so touching, tender and respectful.

There is much to admire in John Barber’s Song Of Songs (commissioned by The Sixteen); the intricate weaving of the musical lines, lovely ornamentation and music that rhythmically danced. But I failed to engage with the work. Not even the funky ostinato of Love Is As Strong As Death or the splendid singing in By Night could revitalise that movement’s blandness.

Unlike Judith Weir’s Vertue; a very fine performance of a very fine work. Weir’s music always shines brightly, and this was no exception. Alex Kyle made a guest appearance to conduct Schütz’ Ego Dormio; the direction was assured and the performance highly rewarding.

Kerry Andrew’s CoMa Blues was a welcome change of musical gear. The composer has forged her own clearly distinctive voice, and this short theatrical performance was spot-on.

One of the concert highlights was Victoria’s Trahe Me Post Te. It is such a delight to immerse oneself into this velvety chocolatey sound world of absolute luxury. Especially when the performance, under the inspirational direction of conductor Sarah Latto, is as polished as this.

The programme concluded with Philip Glass’s Quand Les Hommes Vivront d’Amour. This attractive work is a hymn to universal love and the responsibility that goes with it, a somewhat timely message needed right here and right now.

It had all the hallmarks of Glass’s radical, and it is indeed radical, style: effective, almost hypnotically driven motor rhythms, repetitive patterns, breathing dynamic phrasing. The performance radiated warmth and joy, a great way to sign off, to say goodnight.

Review by Steve Crowther