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What to expect from Symphony Choir next

The Symphony Choir of Cape Town

sings Handel’s Messiah

DATE                      :     20 December 2017

TIME                       :     7:30pm        

VENUE                   :    St George’s Cathedral, cnr Wale and Queen Victoria streets

This December, the soaring trusses of St George’s Cathedral will again ring with Handel’s beloved choral work, Messiah, sung by the Symphony Choir of Cape Town (SCCT).

Handel’s music explores the human response to the divine and nowhere is this more apparent than in the famous Hallelujah choruses and the Amen chorus at the end. Don’t miss this uplifting experience.

Originally composed for performance during Easter, it is now a firm favourite at Christmas time; since the first part of the work focuses on the birth of Christ, this is entirely appropriate.

The Symphony Choir of Cape Town was founded in 1972 and since then has performed on average four major choral works a year. The choir consists of between 50 and 70 Capetonians with a common love of choral music and performs under the baton of well-known conductor Alexander Fokkens.

Tickets are R180 and are available at the door or through Quicket: Purchase tickets here 



Beethoven Mass in C by Harry Wiggett June 2016

AFTER THE CONCERT – a brief reflection

Every concert performance is a unique event in the life of each performer. Alone, as a singer, one might never have made it onto any concert platform, but together with others in the same boat, as members of a choir our potential as singers can be realised. And that with huge joy and satisfaction.

However, that does not happen without training at the hands of those whose lives have been dedicated to the study and performance of music professionally. But even that study is not sufficient: there is a very real spiritual dimension too. The professional musician handles the God-given blessings of inspiration, insight, heart-understanding of the mind of composers and their compositions; and the ability to inspire others to co-operate in the performance and interpretation of the great masters’ works. Continue reading

Schubert’s Mass in G and Rossini’s Stabat Mater – October 2016 – Harry Wiggett


Where there is music-making every person is affected.

Words can all too often imprison deep spiritual realities within their limitations. And it takes inspired music to release the truths locked within words. Words can also be decidedly  exclusive, whereas music is inclusive, all-embracing.

And, more especially so, when our human words attempt to express Divine understandings which become formulated by mortals into doctrines and dogmas which the faithful of all religious persuasions feel obliged to subscribe to.

Last evening’s concert in the chapel at the Diocesan College (Bishops) under the conductorship of Alexander Fokkens held soloists, choir, orchestra and audience in a tangible bond of unity as the words of the Rossini Stabat Mater and the Schubert Mass in G Major were brought to life in a way that spoke to the heart with truths contained within the words of both liturgical texts. And what a privilege to have performed these two works with such a fine band of orchestral players and soloists under Alexander’s superb direction.

The joy of being a performer in such wonderful works is hugely enhanced by hearing how the concert has affected lives in the audience.

And so I share three particular responses because of the impact the music had on these persons:

At interval, after the Schubert Mass, I fell into conversation with an old friend (older than me) who owned to a longing to die, but was depressed and frightened of death, and heard how reassuring and comforting the Schubert Mass had been to him, especally the closing Agnus Dei – ‘Lamb of God, who takes away the sin of the world, grant us peace’. And then finding himself contemplating an eternally loving Presence awaiting his arrival!

After the Rossini Stabat Mater another friend, from Namibia, who had sung with the choir at a time when her daughter was in hospital in Cape Town and had died, told how she was able through the music to relate to the deep grief of Jesus’ Mother standing at the Cross witnessing her Son’s death, and yet had that deepdown knowing of not being alone, imbued with a deep peace beyond mere words.

And then, when we were leaving the chapel, hearing how tears streamed down the cheeks of a fellow bass as the Stabat Mater came it its conclusion – the deep and profound joy of the Quando corpus movietur resonating with his spirit – ‘When my body dies grant that my soul is given the glory of Paradise. World without end. Amen.’

My own deep and abiding joy was not only in the singing and being part of the performance, but in savouring the spontaneous and heartwarming response of the audience, and the sense of joy that filled the chapel at the conclusion of the concert.

For me it was the joy that Jesus promised would be with and in us regardless of the circumstances of the world in which we live, and regardless of the triumphs and tragedies – no matter how minor or major they may be – that go to make up our ordinary daily lives. I suppose its the joy that at the inevitable end an all-embracing Love awaits us, and that there are many mansions – room for all!

In conclusion: all praise to Alexander whose musicianship continues to mature and seems boundless with an intense humility allowing the music a control and freedom that makes each succesive concert the more meaningful and spiritually rewarding. Not forgetting wife Margaret whose accompanying patience on the piano at rehearsals is limitless as she, together with Alexander, enables the choir to master the inticacies and dynamics of the works being prepared for performance.

Harry Wiggett

Fish Hoek

24 October 2016

Mozart Requiem – March 2016 – by Harry Wiggett

What this performance meant to me:

It is some twelve hours later that I now write, and I am still feeling overwhelmed with joy at the spontaneous standing ovation our performance of the Mozart Requiem, under the masterful baton of Alexander Fokkens, received in the Bishop’s Chapel last night. It seemed to me that all involved in the making of this marvellous music – soloists, orchestra, choir – were totally immersed in the spiritual intensity of this hope-full acclamation of the indestructibility of love and life, and that the all-embracing human event of death leads on naturally to something more.

In this afterglow of the performance it seems good to reflect on the overall experience of being part of such a dynamic body of singers and musicians bringing to life this brilliant Mozart score, aware of the deep understanding and spiritual perception of conductor Alexander in crafting and shaping this work with the musical resources at his disposal. It was truly a performance that overwhelmed one and all with a tangible joy and gladness. Continue reading

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