OUR CHORAL WORKSHOPS
Platinum Consort, directed by Scott Inglis-Kidger, is the leading provider of high-quality choral workshops in the UK, attracting singers from Europe, the USA, and even Australia. Expert and enlightening vocal coaching is at the heart of what we do. You will explore compelling repertoire in one of our beautiful London homes: the riverside church of St Mary’s, Battersea and the candlelit choir stalls of St Barnabas, Pimlico.
WHO SINGS IN OUR WORKSHOPS?Our choral workshops are designed to challenge and stimulate experienced choral singers. We work quickly with only limited note-bashing, and we keep the groups fairly small. We therefore expect you to prepare music in advance or be a proficient sight-reader. Our goal is to enable every one of you to love your voice, through our welcoming atmosphere and our community of like-minded singers.
If you are new to Platinum, please do register with us as a singer and feel free to peruse our 2020 programme by scrolling down below. We look forward to welcoming you to one of our Flagship Workshops, Bach Club days or Early Nights sessions soon. #LOVEYOURVOICE |
A Flagship Choral Workshop at St Mary's, Battersea
Founder & Director, Scott Inglis-Kidger
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FLAGSHIP WORKSHOPS
"I learned so much and found the whole day extremely enjoyable; singing with very friendly and like-minded people."
"Both Scott and Ghislaine were able to match their obvious expertise with their enthusiasm, which made for a very fun day."
Dodecahedral Polyphony II: Praetorius, Hassler & Lassus
£50.00
Saturday 29th February
10:30-17:00
DODECAHEDRAL POLYPHONY II
A Flagship Choral Workshop from Platinum Consort
Hieronymus Praetorius (1560-1629)
Tota pulchra es, amica mea a12
Orlande de Lassus (c1532-1594)
Domine quid multiplicati sunt a12
Hans Leo Hassler (c1564-1612)
Duo seraphim a12
Owing to the success of last year’s Dodecahedral workshop, we continue to explore glorious music in twelve parts, set in various tri-choir combinations. We start with a composer who is a master of the polychoral technique — Hieronymus Praetorius. Published in Hamburg in the Cantiones Variae of 1613, his setting of the text Tota pulchra es contains a perfect fusion of homophony and polyphony, along with an edgy, rhythmic drive. Slightly earlier than Praetorius, fellow German Hans Leo Hassler’s setting of the Duo seraphim was published in the Cantiones Sacrae de Festis Praecipibus Totius Anni in 1591. Hassler engages no less than four treble parts in this motet and, in a similar vein to the Guerrero setting we studied last year, does not miss an opportunity to depict the two angels who sing as a duet for the first ten bars. Serving as a contrast, the final 12-part motet is by Franco Flemish composer Orlande de Lassus, and was published in his Magnum Opus Musicum in 1604. This setting of Psalm 3 displays Lassus’ wondrous ability to create tone colour and drama through various combinations of high and low voices, subverting the expectations of an antiphonal tri-choir texture.
Scott Inglis-Kidger Director
St Mary's Church, Battersea Church Road
London SW11 3NA
Cost includes break time refreshments and music
By purchasing this workshop you consent to receive information about our future events, by email, and agree to our Terms and Conditions: please see below. In accordance with our Privacy Policy, we will not share your information with any third party.
CANCELLATION POLICY: No refunds will be available for any reason (including illness) for cancellations received ten days or fewer before the workshop. Workshop places are limited and, in the event of a client asking to cancel their place, refunds can only be offered if there is a waiting list for the relevant voice-part, and another client from the waiting list accepts the place.
SOPRANO SOLD OUT: Please join the waiting list here
ALTO SOLD OUT: Please join the waiting list here
The Original Miserere: Allegri, Tomkins & Weelkes
£50.00
Saturday 14th March
10:30-17:00
THE ORIGINAL MISERERE
A Flagship Choral Workshop from Platinum Consort
Gregorio Allegri (c1582-1652)
Miserere
Thomas Tomkins (1572-1656)
When David Heard
Thomas Weelkes (1576-1623)
When David Heard
It is now widely known that the received Miserere by Allegri actually bears little relation to the original falsobordone setting found in the Sistine Codex of 1661, stored in the Vatican Library. The famous ‘top C’ is somewhat of an enigma and has, no doubt, touched the hearts of many modern listeners who, without it, may never have experienced choral music. There are many reasons the music evolved over the years. The reign of the Castrati — not only in Italian opera, but also in the Sistine Chapel Choir — goes some way to explain the extraneous top C. One could say the Castrati were the equivalent of our modern-day pop stars. During the Classical period it is said that the Castrati demanded the pitch of the music be increased in order for them to show off their hauntingly high voices. In 1831, Mendelssohn made a record of the Miserere, manuscripts of which were still closely guarded by the Sistine Chapel. At this point the entire piece was sung a fourth higher than originally written. It was also adorned with abbellimenti (embellishments) which had been developed over the years by the singers, again, in order to show off their vocal prowess, much like in opera. The snippet from Mendelssohn was combined with the famous Mozart ‘off-by-heart’ transcript and an edition from an adapted Sistine codex by English music historian Charles Burney. Curiously, the last verse remained true to the original Allegri falsobordone. The resulting effect is beguiling, but rather inaccurate. Alongside an exploration of the original Miserere and its various incarnations, we will sing two settings of the sacred lament When David Heard by British composers living at the same time as Allegri – Thomas Weelkes and Thomas Tomkins.
Scott Inglis-Kidger Director
Ghislaine Morgan Associate Musical Director
St Mary's Church, Battersea Church Road
London SW11 3NA
Cost includes break time refreshments and music.
By purchasing this workshop you consent to receive information about our future events, by email, and agree to our Terms and Conditions: please see below. In accordance with our Privacy Policy, we will not share your information with any third party.
CANCELLATION POLICY: No refunds will be available for any reason (including illness) for cancellations received ten days or fewer before the workshop. Workshop places are limited and, in the event of a client asking to cancel their place, refunds can only be offered if there is a waiting list for the relevant voice-part, and another client from the waiting list accepts the place.
SOPRANO SOLD OUT: Please join the waiting list here
Here I Stand: Gesualdo, Tavener, Rachmaninov & Weir
£50.00
Saturday 13th June
10:30-17:00
HERE I STAND
A Flagship Choral Workshop from Platinum Consort
Carlo Gesualdo (1566-1613)
Ave Regina Caelorum
Peter Philips (c1560-1628)
Ave Regina Caelorum
Judith Weir CBE (b1954)
Ave Regina Caelorum
Sergei Rachmaninov 1873-1943
Bogoroditse Dyevo
John Tavener (1944-2013)
Mother of God, Here I Stand
Marian texts are a constant source of inspiration for composers old and new, and here we investigate three different texts praising the Virgin Mary. We begin with two Renaissance settings of the Compline antiphon Ave Regina Caelorum, one by English composer Peter Philips and one by noted murderer and Prince of Venosa, Carlo Gesualdo. Reflecting these is a setting of the same text by the current Master of the Queen’s Music, Judith Weir CBE. Additionally, we will sing two Orthodox-inspired works: Sergei Rachmaninov’s much-loved setting of the Ave Maria, Bogoroditse Dyevo, from his expansive All-Night Vigil; and the spacious setting by John Tavener of Mother of God, Here I Stand, a poem by the Romantic Russian poet Mikhail Lermontov, written for the Temple Church Choir.
Scott Inglis-Kidger Director
Ghislaine Morgan Associate Musical Director
St Mary's Church, Battersea Church Road
London SW11 3NA
Cost includes break time refreshments. Participants will be provided with a copy of the Gesualdo and Rachmaninov, but are kindly asked to purchase a copy of the Weir and Tavener.
By purchasing this workshop you consent to receive information about our future events, by email, and agree to our Terms and Conditions: please see below. In accordance with our Privacy Policy, we will not share your information with any third party.
CANCELLATION POLICY: No refunds will be available for any reason (including illness) for cancellations received ten days or fewer before the workshop. Workshop places are limited and, in the event of a client asking to cancel their place, refunds can only be offered if there is a waiting list for the relevant voice-part, and another client from the waiting list accepts the place.
The Deer's Cry: Pärt, Holst, Harris & Lotti
£50.00
Saturday 19th September
10:30-17:00
THE DEER'S CRY
A Flagship Choral Workshop from Platinum Consort
Arvo Pärt (b1935)
The Deer's Cry
Antonio Lotti (1667-1740)
Crucifixus a8
Gustav Holst (1874-1934)
Nunc Dimittis
Sir William H. Harris (1883-1973)
Bring us, O Lord God
In this workshop we immerse ourselves in music which evokes peaceful contemplation. At the centre of the programme is Arvo Pärt’s The Deer’s Cry, which is a setting of words based on the poem St. Patrick’s Breastplate. Pärt is known for his holy minimalist style, and particularly for his technique of tintinnabuli, which brings out the bell-like quality of a triad. Pärt is also inspired by Gregorian Chant, evident in the soprano line. Alongside The Deer’s Cry, we will enjoy evocative works by Lotti, Holst and Harris. The openings of both Lotti’s Crucifixus and Holst’s Nunc Dimittis are uncannily similar in their use of slowly evolving dissonant chords, gradually ascending in pitch as the voices enter from bottom to top. Bring us, O Lord God is a double-choir setting by Harris of words by the Renaissance metaphysical poet John Donne. Harris’ music effortlessly evokes Donne’s radiant picture of heaven, with an exquisite chord progression throughout the Amen.
Scott Inglis-Kidger Director
Ghislaine Morgan Associate Musical Director
St Mary's Church, Battersea Church Road
London SW11 3NA
Cost includes break time refreshments. Participants will be provided with a copy of Crucifixus, but are kindly asked to purchase copies of the Pärt, Holst, and Harris.
By purchasing this workshop you consent to receive information about our future events, by email, and agree to our Terms and Conditions: please see below. In accordance with our Privacy Policy, we will not share your information with any third party.
CANCELLATION POLICY: No refunds will be available for any reason (including illness) for cancellations received ten days or fewer before the workshop. Workshop places are limited and, in the event of a client asking to cancel their place, refunds can only be offered if there is a waiting list for the relevant voice-part, and another client from the waiting list accepts the place.
Immortal Fire: Britten, Purcell & Tallis
£50.00
Saturday 14th November
10:30-17:00
IMMORTAL FIRE
A Flagship Choral Workshop from Platinum Consort
Benjamin Britten (1913-1976)
Hymn to St Cecilia
Henry Purcell (c1659-1695)
Hear my Prayer
Thomas Tallis (c1505-1585)
O nata lux
Being so close to St Cecilia’s day and Benjamin Britten’s birthday (22nd November), we will immerse ourselves in the immortal fire of Britten’s wonderful ode to the patron saint of music. The piece is a setting of a text by Britten’s friend and colleague, W.H. Auden – however, this text is the last of his that Britten set, as by this point their friendship was wearing thin. Auden was in the habit of making his feelings about Britten’s personal development known, and some have conjectured that parts of this poem are thinly veiled references to Britten’s character, specifically ‘There is no creature/Whom I belong to, / Whom I could wrong ... I shall never be / Different. Love me!’ Despite this, Britten – after a spell of creative block – set the text extremely evocatively, and it is both a challenge and a joy to sing. Alongside this, we will sing two prayerful examples of the work of two of England’s finest composers. Thomas Tallis’ O Nata Lux, a motet for the Feast of the Transfiguration, is a small gem – its intimate setting abounds with false relations and other dissonances, depicting the wonder of the vision that the disciples received. Lastly, Henry Purcell’s ‘noble fragment’ Hear my Prayer, the brevity of which only adds to its effectiveness and emotional intensity.
Scott Inglis-Kidger Director
Ghislaine Morgan Associate Musical Director
St Mary's Church, Battersea Church Road
London SW11 3NA
Cost includes break time refreshments. Participants will be provided with a copy of the Tallis and Purcell, but are kindly asked to purchase a copy of the Britten.
By purchasing this workshop you consent to receive information about our future events, by email, and agree to our Terms and Conditions: please see below. In accordance with our Privacy Policy, we will not share your information with any third party.
CANCELLATION POLICY: No refunds will be available for any reason (including illness) for cancellations received ten days or fewer before the workshop. Workshop places are limited and, in the event of a client asking to cancel their place, refunds can only be offered if there is a waiting list for the relevant voice-part, and another client from the waiting list accepts the place.
SOPRANO SOLD OUT: Please join the waiting list here
ALTO SOLD OUT: Please join the waiting list here
Palestrina: Mass for Christmas
£50.00
Saturday 5th December
10:30-17:00
PALESTRINA MASS FOR CHRISTMAS
A Flagship Choral Workshop from Platinum Consort
Giovanni Pierluigi da Palestrina (c1525-1594)
Missa Hodie Christus Natus Est a8
Hodie Christus Est a8 (motet)
“He is the real king of sacred music and the eternal father of Italian music." Guisseppe Verdi on Palestrina.
The legend that Palestrina managed to convince the Council of Trent that a complete ban of polyphonic music was not necessary has now been brought into question. The Council’s main concern was that sacred music was becoming too convoluted and the text lost in the texture. Whether or not Palestrina influenced the cardinals of the Council, no official ruling was ever made. It is true, however, that Palestrina seemed able to find the perfect balance of polyphonic flare and syllabic rendering of text, and his compositional practices are of great scholarly importance in modern times. In this, our final Flagship Workshop of the year, we sing the double-choir motet Hodie Christus Natus Est, published in Venice in 1575, and an eight-part mass based on material from the motet. Palestrina cleverly arranges the two choirs into high and low (SSAB and ATTB), thus creating two contrasting sonorities, best displayed in the antiphonal cries of ‘Noe, noe’. In the mass, the careful interweaving of ascending and descending vocal lines, and a frequent joining of forces of the two choirs, results in a great sense of grandeur. Another point of interest is the consistent use of triple time throughout the mass, evoking a dance-like joyfulness at the birth of Jesus.
Scott Inglis-Kidger Director
St Mary's Church, Battersea Church Road
London SW11 3NA
Cost includes break time refreshments and music.
By purchasing this workshop you consent to receive information about our future events, by email, and agree to our Terms and Conditions: please see below. In accordance with our Privacy Policy, we will not share your information with any third party.
CANCELLATION POLICY: No refunds will be available for any reason (including illness) for cancellations received ten days or fewer before the workshop. Workshop places are limited and, in the event of a client asking to cancel their place, refunds can only be offered if there is a waiting list for the relevant voice-part, and another client from the waiting list accepts the place.
SOPRANO SOLD OUT: Please join the waiting list here
10:30-17:00
PALESTRINA MASS FOR CHRISTMAS
A Flagship Choral Workshop from Platinum Consort
Giovanni Pierluigi da Palestrina (c1525-1594)
Missa Hodie Christus Natus Est a8
Hodie Christus Est a8 (motet)
“He is the real king of sacred music and the eternal father of Italian music." Guisseppe Verdi on Palestrina.
The legend that Palestrina managed to convince the Council of Trent that a complete ban of polyphonic music was not necessary has now been brought into question. The Council’s main concern was that sacred music was becoming too convoluted and the text lost in the texture. Whether or not Palestrina influenced the cardinals of the Council, no official ruling was ever made. It is true, however, that Palestrina seemed able to find the perfect balance of polyphonic flare and syllabic rendering of text, and his compositional practices are of great scholarly importance in modern times. In this, our final Flagship Workshop of the year, we sing the double-choir motet Hodie Christus Natus Est, published in Venice in 1575, and an eight-part mass based on material from the motet. Palestrina cleverly arranges the two choirs into high and low (SSAB and ATTB), thus creating two contrasting sonorities, best displayed in the antiphonal cries of ‘Noe, noe’. In the mass, the careful interweaving of ascending and descending vocal lines, and a frequent joining of forces of the two choirs, results in a great sense of grandeur. Another point of interest is the consistent use of triple time throughout the mass, evoking a dance-like joyfulness at the birth of Jesus.
Scott Inglis-Kidger Director
St Mary's Church, Battersea Church Road
London SW11 3NA
Cost includes break time refreshments and music.
By purchasing this workshop you consent to receive information about our future events, by email, and agree to our Terms and Conditions: please see below. In accordance with our Privacy Policy, we will not share your information with any third party.
CANCELLATION POLICY: No refunds will be available for any reason (including illness) for cancellations received ten days or fewer before the workshop. Workshop places are limited and, in the event of a client asking to cancel their place, refunds can only be offered if there is a waiting list for the relevant voice-part, and another client from the waiting list accepts the place.
SOPRANO SOLD OUT: Please join the waiting list here
BACH CLUB
Exploring the complete cycle of sacred cantatas by Johann Sebastian Bach
BACH CLUB“Bach is like an astronomer who, with the help of ciphers, finds the most wonderful stars.”
Frédéric Chopin Join us on a journey of discovery as we embark on our second year of singing the choruses and chorales of Bach's complete cycle of sacred cantatas. £50 per workshop 
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BACH CLUB V: SATURDAY 18 JANUARY 2020
Cantata BWV 14 Wär Gott nicht mit uns diese Zeit Cantata BWV 16 Herr Gott, dich loben wir Cantata BWV 17 Wer Dank opfert, der reiset mich BACH CLUB VI: SATURDAY 4 APRIL 2020
Cantata BWV 19 Es erhub sich ein Streit Cantata BWV 20 O Ewigkeit, du Donnerwort Cantata BWV 23 Du wahrer Gott und Davids Sohn BACH CLUB VII: SATURDAY 2 MAY 2019
Cantata BWV 21 Ich hatte viel Bekümmernis Cantata BWV 24 Ein ungefärbt Gemüt BACH CLUB VIII: SATURDAY 17 OCTOBER 2019
Cantata BWV 25 Es ist nichts Gesundes an meinem Leibe Cantata BWV 26 Ach wie flüchtig, ach wie nichtig Cantata BWV 27 Wer weiß, wie nahe mir mein Ende |
EARLY NIGHTS
Do you love Early Music? Would you like to wind down after work with some polyphony? Join us for our small, inspirational Early Nights workshops with specialist, Scott Inglis-Kidger, in the beguiling setting of St Barnabas, Pimlico.
