History of the Sevenoaks Philharmonic Society

In 1897 Wilfred A. Taylor, then organist at St. John's Church, formed a group of singers and instrumental players, known as The St. John's Choral Society. A detailed review of their first concert appeared in The Kentish Advertiser in February 1898, the transcript of which appears below.

The Society continued to thrive until 1922 when Wilfred Taylor, now organist at St. Luke's Church, died tragically in a motor cycle accident. Details of the period following his death are hard to come by but we must assume continuation of the group until the war years when there appears to have been a separation of the singers and instrumental players. The singing continued throughout the war, run by TOC H and, in November 1944, the Sevenoaks and District Orchestral Society was formed. Their inaugural concert, conducted by Mr. John McMenemy and led by Miss May Weth, took place on 12th May 1945. In the following decade, Albert Whitnall, former Director of The Board of Trade Choir, became Music Director of the Sevenoaks Choral Society. Under his leadership the choir enjoyed the challenge of performing works composed by their conductor, including his oratorio, Easter Story, performed at one of his last concerts with the Society in April 1963. The soprano, Heather Harper was amongst the soloists and the singer and guitarist, Cy Grant, made a special appearance to read the poem from which the libretto was taken, "The Crucifixion" from "Trombones of God" by James Weldon Johnson.

By this time, the Sevenoaks Choral Society had been dissolved, fairly dramatic changes being needed to maintain what had been achieved, put the organisation on a firmer footing financially and aim for even higher standards in the future. In 1956, the newly formed Sevenoaks Philharmonic Society, under the chairmanship of David King and assisted by other local businessmen and former Sevenoaks Choral Society members, set the foundation for the future strength of the organisation. The combined skills, enthusiasm and efforts of these members marked a real turning point in the fortunes of the Society.

In 1964, following the departure of Albert Whitnall, Raymond Fischer was appointed Music Director on the recommendation of Sir Adrian Boult. Only the third known Music Director of the Society in its 100 year history, he completed 34 years with the choir. Under his leadership there were notable performances of little known masterpieces by the great composers in addition to a wide variety of works from the choral repertoire with full orchestral accompaniment provided by young professional players contributing to concerts of an increasingly high standard. The Society joined in the delight of many other Sevenoaks organisations at the opening of the Stag Theatre and our performance of Brahms Ein Deutsches Requiem there in February 1984 provided the Society's first 'sell-out'!

Following Raymond Fischer's departure in 1998, the Society embarked on a period of invited guest conductors which proved extremely stimulating and gave real insight into the conducting style and personality which would take the choir forward into 2000 and beyond. During this period the choir was fortunate enough to be conducted for a whole season by Joseph Cullen whose other positions, at that time, included chorus master for the Huddersfield Choral Society, St. Martin in the Fields and later for the BBC Symphony Chorus.

For many years, there have been regular collaborations with the Sevenoaks Symphony Orchestra, joint concerts currently taking place every other year. Recent performances have included Walton's Belshazzar's Feast, Vaughan Williams's Sea Symphony and, in 2004, Orff's Carmina Burana together with the first performance of Darrell Davison's Symphony of Souls. This concert marked the approach of Darrell's 25th season as conductor of the Sevenoaks Symphony Orchestra and was a very special and unique occasion.

The link between the choir and orchestra has always been important and much satisfaction is derived on these occasions from the display of Sevenoaks's considerable choral and orchestral talent.

The current Music Director since 2002, Robyn Sevastos, has proved to be a highly intuitive choral conductor who has brought variety and vitality to the choir's performances. Occasional concert performances of Gilbert and Sullivan and other operetta, with first class soloists, have been an extremely successful introduction to the repertoire during Robyn's time with the choir.

In 1987 the Society became a registered Charity governed by a new Constitution and a subsequent review and some amendment a few years later resulted in a beneficial tightening of the administration.

Future programming is continually discussed and plans have already gone beyond the coming season; plans which will ensure the continuation of a rich tradition of choral music in Sevenoaks, in the certain knowledge of the delight it brings to performer and audience alike.

Some months since we announced the fact that Mr Wilfred A Taylor, the talented organist and choir-master of St. John'sChurch, had formed a Choral Society. From the first the venture met with a hearty reception, and it was generally acknowledged that it met a long felt want. It was decided to start with a work which - whilst giving the members of the society plenty of scope for the display of their ability - would not prove too ambitious. Barnby's "Rebekah", a scriptural idyll admirably arranged and containing most harmonious movements, was accordingly selected, and during the past winter the members have been rehearsing with commendable regularity, under Mr Taylor's direction.

On Wednesday evening the initial concert was given in St John's Hall. The seating arrangements were good and it was satisfactory to find that the venture was fully appreciated, the hall being filled to the utmost by an enthusiastic audience. A large and well balanced chorus was supplemented by an efficient orchestra under the leadership of Mr W W Whitehead, who with Miss Hilda Green, led the violinists. The other instrumentalists were: second violins, Mr Hoad, Miss Beatrice Hughes, Miss Phyllis Knight and Mr Bellingham. Viola, Mr Patler of London, (in the absence, through indisposition, of Mr A G Whitehead), cello, Miss E Whitehead, contrabass, Mr Baldwin, piano Miss Whitehead.

The first part of the programme was devoted to the work above mentioned, and from the first it was evident that a vast amount of labour had been bestowed upon it. From the opening passage to the closing chorus the piece was rendered without the slightest defect, and both the conductor and those who assisted him are deserving of the highest commendation for the manner in which they acquitted themselves. A charming introduction and chorus "Lo, day's golden glory" was followed by an effective recitative and air - "The daughters of the City". This was taken by Mr Charles Hinchliff (solo bass, St Andrew's Church, Wells Street). His voice has a magnificent compass and power, and the audience testified their appreciation by hearty applause. "Who shall be fleetest?" was a pretty chorus, the solo being admirably taken by Miss Ethel Bradlaugh. The recitative and air "Give me to drink" was perfectly rendered by Mr Hinchliff in conjunction with her; and scene one closed with a delightful solo "Fear or doubting" by Miss Bradlaugh, the chorus being tunefully sung by the choir.

An enjoyable introduction by the orchestra opened scene two, and in this the ability of the musicians was fully demonstrated. Mr Sadleur Browne (solo tenor at St. Saviour's, Southwark) gave an exquisite rendering of the recitative and air "The soft Southern breeze," and then followed one of the most entrancing items in the programme ---The bride's march", a composition full of the sweetest melody imaginable. Miss Bradlaugh was again most successful in the recitative, "Behold my Lord" and, with Mr Sadleur Browne, gave a perfect rendering of the duet "O, flower of the verdent Lea". The work closed with a charming chorus, "Protect them Almighty", in which perfect time and expression were marked, and the audience accorded the performers a full measure of applause which was most thoroughly deserved. 

The second part of the programme was filled with a series of miscellaneous items, all of which were specially worthy of praise. Mr Sadleur Browne opened with Blumenthal's pretty composition "An evening song", and in response to a unanimous recall, he gave, with even greater effect, "Mary of Argyle". A part song "O lovely May" by Edward German, fully maintained the reputation of the chorus, and Mr Hinchliff was encored for a fine rendering of the "Song of the highwayman" (Gerard Cobb). The chorus Merrily grows the bark" (Dr F J Read) was well received, and Messrs. Browne and Hinchliff then gave a splendid version of "The two beggars" for which they had to appear again. Miss Bradlaugh was heard to perfection in Edward German's pretty song "Who'll buy my lavender", and kindly responded to the demand for an encore by singing "The flight of ages". The part song "The corall'd caves of ocean" (Smart) made a charming finale to one of the best concerts ever given in the town, and the rounds of applause from the audience which greeted this item must have been very gratifying to all who assisted in providing so perfect an evening's enjoyment. In conclusion we heartily congratulate Mr Taylor and those associated with him in this movement, and we sincerely hope that the society so successfully inaugurated will continue to prosper, and provide in the future many concerts as gratifying as that of Wednesday.