ENROL – EXPERIENCE – ENJOY

Carlton Male Voice Choir stands as a distinguished ensemble of lower voices under the expert leadership of Musical Director Ian Watts (he/him), consistently delivering captivating performances across various genres. We prioritise inclusivity, ensuring accessibility to all while performing at a diverse array of venues, from festivals and car shows to grand concert halls and enchanting theatres, public parks, and even esteemed Minsters and Cathedrals, often in support of charitable causes via our own charity 1214041. Notably, we maintain a secular identity are not affiliated with any religious organisation, though our repertoire may include religious pieces, affirming our commitment to relevance and diversity.

Our expansive and progressive repertoire caters to a wide spectrum of musical tastes, curated meticulously to meet the demands of our flexible concert performances. Eschewing traditional attire, we opt for modern cut suits or smart/casual ensembles, embodying a contemporary approach to choral presentation. Constantly rejuvenating our sound, we incorporate new and exciting music for lower voices, complemented by occasional hymns but extending far beyond to encompass classical, jazz, pop, and opera genres. Praised as “the future of male voice singing,” we continuously strive for excellence, as evidenced by our diverse and dynamic repertoire. See our review page to see what others think of the choir.

Performing approximately 30 times annually across Nottinghamshire, our schedule includes flagship concerts at prestigious venues such as The Albert Hall and the Bonington Theatre, where we host our celebrated Festival Concerts. Beyond our local engagements, we embark on annual tours across Europe and the UK, fostering cultural exchange and musical enrichment. We also extend our hospitality to visiting choirs like the renowned Treorchy Male Choir, Northampton Male voice Choir and Dowlais Male Choir, while championing emerging talent through our own Music Competition, “Music Makers.”

At the helm of our operations, we boast a dedicated set of trustees overseeing day-to-day affairs, supported by a dynamic Music Team comprising Ian Watts, Andrew Atkinson, Philip Miles and Rebecca Williams. Committed to our charitable mission as a registered charity, and buoyed by generous sponsorship, Carlton Male Voice Choir remains steadfast in its pursuit of musical excellence and community enrichment.

Who are we? – We are Carlton Male Voice Choir, a choir of around 100 auditioned lower voice members who rehearse and perform from our base in Nottingham, performing solely and in collaboration at a wide array of venues.

What are our values? – We value the up-skilling of our members musically, our equality, diversity and inclusion, our ambition, our camaraderie and our charity work (charity 1214041). Enrol, Experience, Enjoy.

What are our artistic goals? – To be unfailingly ambitious in promoting and educating people through the art of music, delivering our performances at a high standard of entertainment excellence.

Who are our target audience? – Everyone that enjoys hearing live music across various eras, styles and genres.

Discover our recent endeavors by exploring any of our social media links located at the bottom of this page.

Buy tickets for our any of our performances now – TICKETS

 

SET LIST

Carlton Christmas Festival Concert

Bonington Theatre, Arnold

Saturday 20th December, 2025

Programme Notes

Thank you so much for joining us today in this wonderful theatre in Arnold, and for being part of our Christmas performances in 2025. We’re proud to present Nottingham’s premier Male Voice Choir, now with over 100 singers on our books. Of these, 100 have now been auditioned, and we’re thrilled to say that our 36th new singer this year passed his audition only a week last Wednesday! Congratulations to baritone André Pavia!

Our Christmas Festival performance is more than a concert — it’s an invitation to step into the spirit of Christmas: to enjoy wonderful music, share warmth and community, and celebrate the joy of the season together.

Today, we are delighted to welcome you to enjoy the music of the Carlton Male Voice Choir, conducted by Ian Watts and accompanied by Philip Miles, and to give an enthusiastic welcome to our fantastic guests:

Katharine Dryden (mezzo-soprano), Ben Irwin (flugelhorn) and Philip Miles (piano)

Also, your MC today – Jono Gregory…

Below you will find the programme for this event. Thank you again for being with us — we hope you have a magical afternoon.

 

Set 1 

Fanfare for Christmas Day – Martin Shaw – A bright and uplifting miniature fanfare, Fanfare for Christmas Day is a joyful opening gesture for the festive season. Written in 1922 and published in 1928, the work comes from English composer Martin Shaw, a significant figure in early 20th-century British church music. This piece is new to the choir and receives its first performance with us this year. Shaw was also the uncle of Sebastian Shaw, who famously portrayed the unmasked Darth Vader in Return of the Jedi.

O Come, Emmanuel – Elaine Hagenberg – This Advent setting by one of the choir’s favourite contemporary composers, Elaine Hagenberg, offers a reflective and deeply expressive reimagining of the traditional chant. Suggested by baritone Alan McPherson, the work weaves chant-like melodic lines through rich minor harmonies, creating a contemplative atmosphere well suited to the Advent season.

Quem Pastores – This setting of the well-known carol features its famous triple-time melody enhanced by a gently decorative piano accompaniment. A soft, expressive choral delivery brings warmth and tenderness to the text, as the shepherds “worship and adore him, laying their humble gifts before him.”

The Very Best Time of Year – A relaxed and smooth piece featuring John Rutter’s signature luscious and intricate harmonies, arranged by Alwyn Humphreys. The music evokes the sights and joys of the “very best” time of year—Christmas—painting a vivid seasonal scene through its warm and inviting sound.

Saviour’s Day – A much-loved Christmas classic, Saviour’s Day brings a familiar burst of festive energy to the programme. The accompanying video features a special contribution from the Musical Director’s children.

GUEST SOLOS FROM PHILIP MILES AND BEN IRWIN

Audience Carol – Silent Night – A Christmas favourite for everyone to join in started off with a poignant reminder of the Christmas Truce. On Christmas Eve and Christmas Day, 1914, along the Western Front in Belgium and France, British, French, and German soldiers laid down their arms in a spontaneous ceasefire. For a brief moment, they exchanged greetings, shared food, sang carols, and even played football, offering a remarkable glimpse of humanity amid the hardships of war. When the carol starts — please sing along!

Carol of the Drum – A gentle and evocative telling of the story of a drummer boy who follows the procession to Bethlehem, sharing his gift through music

Mistletoe & Wine – A much-loved Christmas hit from Cliff Richard, Mistletoe & Wine combines festive cheer with a thoughtful reminder of hope and harmony at Christmas. Do join in with the choir during the choruses.

A Merry Little Christmas – A delightful medley of seasonal favourites — Jingle Bells, Have Yourself a Merry Little Christmas, Winter Wonderland, and more. Keep an ear out for hints of O Come, All Ye Faithful and Deck the Hall hidden in the piano part.

INTERVAL

 

Set 2

Mary’s Boy Child – Made famous by Harry Belafonte and later Boney M, this arrangement features a solo line throughout, performed today by our talented Second Tenor: Jonnie Elkins, with the choir providing gentle humming beneath. Mary’s Boy Child is a Christmas song that tells the story of the birth of Jesus from a deeply human and compassionate perspective, focusing on Mary and the humble circumstances surrounding the Nativity. The song was written in 1956 by Jester Hairston, an American composer and choral conductor. Hairston originally composed it for a Nativity play, drawing inspiration from African-American spirituals, which is why the melody has a gentle, rocking, almost lullaby-like quality. It became world-famous when Harry Belafonte recorded it in 1956, turning it into an international Christmas classic. In 1978, the disco group Boney M released it as a Christmas single, combined with Oh My Lord as a medley.

The Christmas Song (Chestnuts Roasting On An Open Fire) – Few songs capture the spirit of Christmas quite like The Christmas Song. With its vivid winter imagery and glowing sense of nostalgia, the piece invites listeners into a world of fireside warmth and seasonal reflection. Since its first performance in 1945, it has become a festive standard, famously associated with Nat King Cole, whose smooth interpretation helped cement its place at the heart of Christmas music. The solo for this piece are taken today by Ben Irwin (Tenor 1) and baritones Sei Wong and Phil McKiernan.

When a Child Is Born – A tender Christmas classic that gently alludes to the Nativity story, When a Child Is Born is presented here with a spoken middle section by baritone Terry Joyce, supported by soft choral humming that enhances the reflective mood.

O Holy Night! – Widely regarded as the UK’s most cherished Christmas carol—and a favourite of the choir—O Holy Night! is performed here by our own 1st tenor Terry Grey, with Wayne Kitchener standing by as understudy. This arrangement is one to be savoured rather than rushed, allowing its dramatic contrasts to shine: moments of awe-inspiring power give way to hushed reverence at the words “Christ is born.” The depth and richness of the lower voices lend particular weight to the carol’s emotional and spiritual impact.

GUEST: KATHARINE DRYDEN

Audience Carol – Hark! The Herald Angels Sing – No Christmas concert would be complete without this timeless carol. The lyrics are on the screen—join in and sing along with us!

Schneewalzer (“Snow Waltz”) – A joyful Bavarian favourite, sung partly in English and partly in German. This audience-participation piece invites you to join in the fun and follow the directions as we waltz our way toward the concert finale.

Deck the Hall – A sparkling and energetic arrangement that bursts into life from the very first bar. A bright key change leads into a gentler, lyrical middle section before returning to a final joyful flourish, bringing the Carlton Male Voice Choir’s performance to a triumphant close.

Audience Sing-Alone – We Wish You a Merry Christmas – Turn to a loved one—or sing heartily to the audience—and join in this festive finale. Let’s wish each other well as we head into the busy holiday season!

Closing Thanks

Our warmest thanks go to everyone who made today’s concert possible. We are especially grateful to MC Jono Gregory, Bonington Theatre Manager Jeremy Arblaster, and Peter Hodgkinson for sound and lighting, as well as to all the theatre staff, Arnold Library, and our logistics team led by John Matthews. We also extend our thanks to our guest artists Katharine Dryden, Ben Irwin, and Philip Miles.

We are grateful to our soloists: Ben Irwin, Sei Wong, Jonnie Elkins, Terry Gray, Philip McKiernan and Terry Joyce.

We’re delighted you could join us—whether alone, with family, or with friends. We hope that the intimate setting and evocative music have given you a memorable evening of celebration, reflection, and joy, helping to prepare you for the Christmas season. Thank you all for being part of it!

Ian Watts (Musical Director)

 

Carols By Candlelight

Rufford Mill

Sunday 21st December, 2025

Programme Notes

Thank you so much for joining us today in this wonderful restored mill at Rufford, and for being part of our Christmas performances in 2025. We’re proud to present Nottingham’s premier Male Voice Choir, now with over 100 singers on our books. Of these, 100 have now been auditioned, and we’re thrilled to say that our 36th new singer this year passed his audition only a week last Wednesday! Congratulations to baritone André Pavia!

Our Rufford performance is more than a concert — it’s an invitation to step into the spirit and as typical here for us ‘the mayhem’ of Christmas: to enjoy wonderful music, share warmth and community, and celebrate the joy of the season together.

Today, we are delighted to welcome you to enjoy the music of the Carlton Male Voice Choir, conducted by Ian Watts and accompanied by Philip Miles, and to give an enthusiastic welcome to our fantastic guests:

Philip Miles (piano), Ben Irwin (flugelhorn) & Brian Allen (baritone)

Below you will find the programme for this event. Thank you again for being with us — we hope you have a magical and fun packed afternoon.

 

Set 1 

Fanfare for Christmas Day – Martin Shaw – A bright and uplifting miniature fanfare, Fanfare for Christmas Day is a joyful opening gesture for the festive season. Written in 1922 and published in 1928, the work comes from English composer Martin Shaw, a significant figure in early 20th-century British church music. This piece is new to the choir and receives its first performance with us this year. Shaw was also the uncle of Sebastian Shaw, who famously portrayed the unmasked Darth Vader in Return of the Jedi.

O Come, Emmanuel – Elaine Hagenberg – This Advent setting by one of the choir’s favourite contemporary composers, Elaine Hagenberg, offers a reflective and deeply expressive reimagining of the traditional chant. Suggested by baritone Alan McPherson, the work weaves chant-like melodic lines through rich minor harmonies, creating a contemplative atmosphere well suited to the Advent season.

Quem Pastores – This setting of the well-known carol features its famous triple-time melody enhanced by a gently decorative piano accompaniment. A soft, expressive choral delivery brings warmth and tenderness to the text, as the shepherds “worship and adore him, laying their humble gifts before him.”

The Very Best Time of Year – A relaxed and smooth piece featuring John Rutter’s signature luscious and intricate harmonies, arranged by Alwyn Humphreys. The music evokes the sights and joys of the “very best” time of year—Christmas—painting a vivid seasonal scene through its warm and inviting sound.

Saviour’s Day – A much-loved Christmas classic, Saviour’s Day brings a familiar burst of festive energy to the programme. The accompanying video features a special contribution from the Musical Director’s children.

GUEST SOLOS FROM PHILIP MILES AND BEN IRWIN

Audience Carol – Silent Night – A Christmas favourite for everyone to join in started off with a poignant reminder of the Christmas Truce. On Christmas Eve and Christmas Day, 1914, along the Western Front in Belgium and France, British, French, and German soldiers laid down their arms in a spontaneous ceasefire. For a brief moment, they exchanged greetings, shared food, sang carols, and even played football, offering a remarkable glimpse of humanity amid the hardships of war. When the carol starts — please sing along!

Carol of the Drum – A gentle and evocative telling of the story of a drummer boy who follows the procession to Bethlehem, sharing his gift through music

Mistletoe & Wine – A much-loved Christmas hit from Cliff Richard, Mistletoe & Wine combines festive cheer with a thoughtful reminder of hope and harmony at Christmas. Do join in with the choir during the choruses.

A Merry Little Christmas – A delightful medley of seasonal favourites — Jingle Bells, Have Yourself a Merry Little Christmas, Winter Wonderland, and more. Keep an ear out for hints of O Come, All Ye Faithful and Deck the Hall hidden in the piano part.

INTERVAL

 

Set 2

Mary’s Boy Child – Made famous by Harry Belafonte and later Boney M, this arrangement features a solo line throughout, performed today by our talented First Tenor: Ben Irwin, with the choir providing gentle humming beneath. Mary’s Boy Child is a Christmas song that tells the story of the birth of Jesus from a deeply human and compassionate perspective, focusing on Mary and the humble circumstances surrounding the Nativity. The song was written in 1956 by Jester Hairston, an American composer and choral conductor. Hairston originally composed it for a Nativity play, drawing inspiration from African-American spirituals, which is why the melody has a gentle, rocking, almost lullaby-like quality. It became world-famous when Harry Belafonte recorded it in 1956, turning it into an international Christmas classic. In 1978, the disco group Boney M released it as a Christmas single, combined with Oh My Lord as a medley.

The Christmas Song (Chestnuts Roasting On An Open Fire) – Few songs capture the spirit of Christmas quite like The Christmas Song. With its vivid winter imagery and glowing sense of nostalgia, the piece invites listeners into a world of fireside warmth and seasonal reflection. Since its first performance in 1945, it has become a festive standard, famously associated with Nat King Cole, whose smooth interpretation helped cement its place at the heart of Christmas music. The solo for this piece are taken today by Ben Irwin (Tenor 1) and baritone Phil McKiernan.

When a Child Is Born – A tender Christmas classic that gently alludes to the Nativity story, When a Child Is Born is presented here with a spoken middle section by baritone Terry Joyce, supported by soft choral humming that enhances the reflective mood.

O Holy Night! – Widely regarded as the UK’s most cherished Christmas carol—and a favourite of the choir—O Holy Night! is performed here by our own 1st tenor Terry Grey, with Wayne Kitchener standing by as understudy. This arrangement is one to be savoured rather than rushed, allowing its dramatic contrasts to shine: moments of awe-inspiring power give way to hushed reverence at the words “Christ is born.” The depth and richness of the lower voices lend particular weight to the carol’s emotional and spiritual impact.

 

CARLTON CHRISTMAS JUMPER CAT-WALK – have a laugh whist spotting the best Christmas outfit on your favourite member!

GUEST SOLOIST: Brian Allen (baritone) singing It’s Beginning to Look A lot Like Christmas – A beloved Christmas favourite, this song paints a vivid picture of holiday cheer and festive anticipation, capturing the magic of the season.

Audience Carol – Hark! The Herald Angels Sing – No Christmas concert would be complete without this timeless carol. The lyrics are on the screen—join in and sing along with us!

Schneewalzer (“Snow Waltz”) – A joyful Bavarian favourite, sung partly in English and partly in German. This audience-participation piece invites you to join in the fun and follow the directions as we waltz our way toward the concert finale.

Deck the Hall – A sparkling and energetic arrangement that bursts into life from the very first bar. A bright key change leads into a gentler, lyrical middle section before returning to a final joyful flourish, bringing the Carlton Male Voice Choir’s performance to a triumphant close.

Audience Sing-Alone – We Wish You a Merry Christmas – Turn to a loved one—or sing heartily to the audience—and join in this festive finale. Let’s wish each other well as we head into the busy holiday season!

Closing Thanks

Our warmest thanks go to everyone who made today’s concert possible. We are especially grateful to all the Rufford staff and our logistics team led by John Matthews. We also extend our thanks to our guest artists: Brian Allen, Ben Irwin, and Philip Miles.

We are grateful to our soloists: Ben Irwin, Terry Gray, Philip McKiernan, Terry Joyce and Chris Davison.

We’re delighted you could join us—whether alone, with family, or with friends. We hope that the intimate setting and evocative music have given you a memorable evening of celebration, reflection, and joy, helping to prepare you for the Christmas season. Thank you all for being part of it!

Ian Watts (Musical Director)

 

Our ethos:

The choir is registered charity No. 1214041

See our Choirs Structure

 

Sponsor Us?

The choir is currently looking for additional sponsorship to help us do our charity work, packages are available and more info can be found here. Thanks to our current sponsors:

CONCERT REPERTOIRE 2025

We perform a wide a varied repertoire to cover the equally wide and varied concert requirement from a festival hall to a beer festival:

ADSPICE DOMINE (OP121) – CUT DOWN GROUP – Mendelssohn’s Adspice Domine is a short sacred motet setting the ancient Latin text meaning “Look upon us, O Lord.”Unlike Renaissance polyphonic settings, Mendelssohn treats the text through a Romantic lens, combining classical clarity with deep emotional restraint — dignified, sincere, and deeply moving in its simplicity. It stands as a bridge between the sacred traditions of the past and the emotional sensitivity of the Romantic era, offering a moment of calm, unified prayer for both singers and listeners.

AFRICAN TRILOGY – feel the rhythms and energy of a three song medley of South African music arranged by Gwyn Arch sung with gusto and passion – Siyahamba – Shosholoza – National anthem of South Africa. One of our tenor soloists (Geoff Brooks or Ian Wood) leads the choir on this piece.

ALWAY SOMETHING SINGS – A challenging contemporary classical piece by American Composer Dan Forrest stating that not only in the old or young, fair or foul but in everything around us something is always singing! Featuring a beautiful ‘antiphonal’ part sung by the soloist from a different area within the performance space when possible. One of two pieces sung by this brilliant composer.

ALWAYS LOOK ON THE BRIGHT SIDE OF LIFE – Words and music by Python and comedian Eric Idle, arranged for male voices by Mac Huff. This brilliant piece of genius by Idle works fabulously in concerts both formal and informal and shows we can let our hair down. Our soloists act out the parts beautifully and with its singalong and whistle along chorus which is sure to bring a smile to your face!

ALWAYS ON MY MIND – a lower voice version of a brilliant well known love song first recorded by Brenda Lee in 1972 but made famous by Elvis Presley in 1972 and Willie Nelson in 1982. This song crosses the genres having charted in both Country and Western and pop hot parades.

BEATI MORTUI – 55 bars of beautifully constructed music sung “Andante Sostenuto”, a cappella, written in the romantic era for male voices by Felix Mendelssohn (Opus 115 – No.1). Lyrics are in Latin: Beati mortui in Domino morientes deinceps. Dicit enim spiritus, ut requiescant a laboribus suis et opera illorum sequentuur ipsos. Translated as: Blessed are the dead which die in the Lord from henceforth: “Yea, saith the Spirit, that they may rest from their labours; and their works do follow them”. The piece was written as a pair of pieces with Periti Autem (See below).

BELLA CIAO – “Goodbye Beautiful”. Fast becoming a favourite of the choir as we pull together this fun piece sung in Italian, cleverly suggested to the choir by new bass Carl Nixon. The piece, which is in a bouncy 2/4 time and in the key of F Minor was dedicated to the Italian Resistance who fought against the German occupation in WWII, it was however based upon a folk song originally sung by female workers in the paddy fields in protest of their poor working conditions. The song has stood the test of time and could be heard sung between people over their balconies in Italy as a statement of solidarity during the recent Covid 19 lockdown period. Expect to see a solo clarinetist perform on occasion.

DIE NACHT (WIE SCHON BIST DU) (D983C) – CUT DOWN GROUP – Die Nacht is a short, lyrical part-song by Franz Schubert, whose subtitle “Wie schön bist du” (“How beautiful you are”) captures the essence of the work. It is a quiet meditation on night as something gentle, protective, and deeply beautiful, rather than dark or threatening. It is a brief but deeply affecting work that celebrates quiet beauty and inner peace. It shows Schubert at his most tender, reminding us that profound emotion can be conveyed with the simplest musical means. A beautiful piece written for male voices from the Romantic era by Schubert sung a cappella in German.

GOOD NIGHT DEAR HEART –  From the notes of the composer Dan Forrest which say everything: A few years ago, my brother and his wife found out that the four month old girl that they were soon to adopt from Ethiopia had fallen ill and passed away. They had been making plans for her, staring endlessly at her picture, and loving her from across the ocean, so the news was devastating. God’s plans were not for her to ever see the people who had loved her from halfway around the world, but for her to be taken instead to His loving arms. For me, life circumstances (whether euphoric or tragic) don’t usually translate into musical inspiration; the two typically remain separate. The night they received this news, though, I found myself longing to pour out a musical elegy. My search for a suitable text led me to a picture from a cemetery in my hometown (Elmira, NY), where the great American author Mark Twain and his family are buried. My brother and I, from our youth, have known the poem that Twain placed on the tombstone of his beloved daughter Susy, when she died unexpectedly at age 24 and left him heartbroken. I was stunned by the bittersweet irony of this text being from our hometown, and in honor of a beloved daughter who died unexpectedly. I wrote this setting that night; it was quickly added to an upcoming concert and premiered only one week later, as an elegy for Etsegenet and a reminder of the orphans of Ethiopia.

GWAHODDIAD – a well known piece by Lewis Hartsough arranged by John Tudor Davies for Male Voice Choirs, the piece is a real beauty with lyrics that say ‘I am coming’ and to wash me in Thy blood as I enter your kingdom.

GWINLLAN A RODDWYD (THIS LAND OF MINE) – a rousing piece of  patriotic music for the choir composed by Caradog Williams. The piece raises the call for protecting your own land in order to pass onto future generations and is highly rousing and staring. A slight nod to the Welsh origins of this piece is presented antiphonally in Welsh during the opening and mid point as solos by Nicholson Dye, but the choir performs the piece in English.

HAPPY – ‘It might seem crazy what I’m about to say’…an upbeat and positive piece of all out pop by Pharrell Williams and released as a sound track single from the fabulous film ‘Despicable Me 2’ in 2013.

HEART OF GOLD – this piece for the choir written by Neil Young has quickly become a favourite for the singers and audiences with its catchy refrain and mid sections that show off the choirs vowel tone production, it is also an afterparty favourite.

HELP ME RHONDA – this bouncy piece written by Beach Boys Brain Wilson and Mike Love as an attempt to fend off the British Musical Invasion can lift any concert with thoughts of the summer and perhaps even surfing for those more daring!

I GET AROUND – a bouncy early Beach Boys classic penned by Brian Wilson and Mike Love which includes handclaps from the choir, some mock American accents and a short and sharp impact ending – make sure you bring your surfboard to the concerts!

IN FLANDERS FIELDS – A beautiful and stirring piece written by local composer and friend of Carlton Male Voice Choir Robert Steadman around the famous poem of Remembrance. Each musical phrase brings the words alive in such a moving way. The piece was sung by our choir in years gone by at the Menin Gate in Ypres, we resurrected it in 2025 for our new audiences to enjoy.

I SWEAR – The choir go all ‘boy band’ with a version of this hit for the American artists All-4-One. Expect to see some indications of this songs boy band links, but fun aside, what a lovely piece of music!

JAMIE’S ON THE STORMY SEA – a beautiful folk song that tells of the maiden waiting for Jamie to return from the sea. Arranged by Matthew P. Jones for Peterborough Male Voice Choir and inspired again by Northampton Male Voice Choir’s performance.

LET IT BE ME – a standard for the choir, often brought out to entertain in concerts and often sung in the pub afterwards! This French lullaby was written by Gilbert Becaud and made famous by The Everley Brothers in 1957.

LET ME LISTEN – Written by Dan Forrest as a statement of support and ally ship with BIPOC (Black and Indigenous People Of Colour). We are often too full of our own path to stop and listen to the needs of others, failing to hear someone else’s viewpoint who may be different in some way to ourselves. We believe that this outstanding piece captures the essence of the changing face of our lower voice choir as we quickly diversify and support each other whatever our culture, sexuality, disabilities or needs. An immediate hit with the choir from its first sing through and we are sure you will love it too.

MAKE YOU FEEL MY LOVE – Words and Music by the legendary Bob Dylan, this beautiful arrangement by Ian Assersohn delivers its melody via the Second Tenors.

MOONLIGHT SONATA (ODE TO THE FATHER) – Our Musical Director performed many times as a live musician with the composer/arranger of this piece of music. Matt Williams has taken Beethoven’s classic sonata and set it against two melodies, one which follows the well known melody of the piece and a brand new counter melody. Matt, with little experience in scoring used the talents of another local composer and choir friend David Machell to translate his musical visions into musical score that the choir can sing from. This piece will be amazing when taken on later in 2025.

MORTE CRISTE – Carlton MVC love performing this well known male voice piece written specifically for lower voices by Emrys Jones to Issac Watts’ infamous lyrics of the passion tide ‘When I Survey The Wondrous Cross’.

O LOVE – a piece which has quickly become a choir favourite, written by the American composer Elaine Hagenburg around the George Matherson lyrics to the hymn O Love That Wilt Not Let Me Go. The lingering dissonance reminds us of past heartache however the promise remains: “morn shall tearless be”.

OUR HOUSE – A rare choir piece that features our bass section, enjoy the relaxed melody of the song from Graham Nash with its lazy tongue in cheek ‘la la la’ middle section.

PERITI AUTEM – 71 bars of beautifully constructed music sung “Allegro Vivace”, a cappella, written in the romantic era for male voices by Felix Mendelssohn (Opus 115 – No.2). Lyrics are in Latin: Periti autem fulgebunt ut fulgor aethereus. Quique multos reddiderunt justos erunt stellarum similes, in omnem aeternitatem. Translated to English from (King James Bible; Daniel 12:3) as: And they that be wise shall shine as the brightness of the firmament; and they that turn many to righteousness as the stars for ever and ever. The piece was written as a pair of pieces with Beati Mortui (See above).

SEAL LULLABY – a beautiful but challenging contemporary choral piece by Eric Whitacre that sounds of waves rolling. A quiet and understated choral delivery allows the beautiful accompaniment to play its part magically.

STANDSCHEN – CUT DOWN GROUP – Ständchen (D889)  (German for “Serenade”) is one of Franz Schubert’s most famous and beloved songs. It comes from his final song collection, Schwanengesang (1828), written in the last year of his life. The poem, by Ludwig Rellstab, is a gentle nocturnal love song. A lover stands outside at night, quietly serenading the beloved and inviting them to come out and share a moment of intimacy and peace. Ständchen stands as a perfect example of Schubert’s genius for uniting poetry and music. It captures a fleeting human moment — a quiet plea for love in the stillness of night — and turns it into something timeless, intimate, and deeply moving

SOUND THE TRUMPET – completed in 1694 by Purcell for the aria ‘Come Ye Sons, Art Away’, arranged here for 4-part male chorus by E. Markham Lee in this rousing piece composed as an offering to Queen Mary on her birthday. A wonderfully enjoyable piece to perform live.

THE AWAKENING – This outstanding piece of high quality choral music was composed by Joseph Martin for the 20th anniversary of TCDA (Texas Choral Directors Association). It was written to celebrate a “journey back to joy” following a harrowing and awful personal experience for the composer. It is composed in 3 sections all of which take the singer and the listener on this journey in a relatable way. The piece was introduced to us by the talented Stephen Bell (Musical Director of the Northampton Male Voice Choir) and our MD Ian was immediately captivated by the piece with an immediate and clear knowledge of how it would translate under his own choral direction.

THE FINNISH FOREST – the return to our repertoire of a wonderful piece with a challenging accompaniment and vocal lines written by Bryan Davies an accompanist and arranger from Ferndale, Rhondda. The title translates in Finnish to Suomen Salossa with its joyous and carefree chorus of ‘Hoilaari, Laa’.

THE FISHERMEN OF ENGLAND – the choice to include this folk song was inspired by a new member of the choir Rich Wisker. Rich has a fabulously diverse love of different types of music and a deep love of folk. Numerous conversations on the subject prompted the hunt for some folk music from deep in the choir’s library and this piece popped up. It has an amazingly difficult accompaniment part and provides a full out, relentless choral belt of a sing.

THE SLOOP JOHN B – a traditional Bahamas Folk Song with a calypso feel made famous by the Beach Boys on their smash album Pet Sounds. The song is based around the traditional story of a ship called the Sloop John B and describes the goings on aboard with various crew members and the need to go home! This piece can also be performed a cappella at the pub.

THEY CAN’T TAKE THAT AWAY FROM ME – the choir takes on a bit of swung jazz with this new piece from Ira and George Gershwin. Feel the intimacy of the jazz clubs as the choir sings the song about the memory of a one night stand! Includes some incredible brass like sforzandos and even has well timed movement from the choir as they swing.

THE LONG DAY CLOSES – CUT DOWN GROUP – as part of our repertoire choice we enjoy delving back into our gigantic musical library to find pieces that will again challenge the choir as we find ourselves in 2025. This piece was written back in 1868 to lyrics by Henry Fothergill Chorley and set to music by Arthur Sullivan and WOW, can you tell! It is so typical of his wonderful Victorian style! The song was taken up by choirs as what was known back then as a ‘part song’; pieces sung in block harmony, with the highest part carrying the melody, rather than contrapuntal form such as a madrigal which was very popular at the time. The lyrics form a meditation on Death and the song was used in the 1992 British film of the same title.

VIVA LA VIDA – the Coldplay classic hit sung ala Male Voice Choir; a brand new piece for Carlton learnt during 2022 for the 70th anniversary of our friends at Bestwood Male Voice Choir, with its rousing chorus, syncopated rhythms and singalong final chorus which draws to a gentle conclusion. The piece works well as a concert opener or encore.

WIDE OPEN SPACES – this piece by Canadian composer Sarah Quartel reflects on life’s adventures within us and around us and includes elements of the major blues scale where both the major and minor 3rd are employed. A unison melody opens up into rich harmony.

YOU DO NOT WALK ALONE – an excellent piece written by a favourite composer of the choir Elaine Hagenburg. This Irish Blessing with its Celtic feel and influences was chosen carefully by Carlton Male Voice to support its fast changing face of diversity and the support required within the choir for others as we work as one. Its melody ascends and descends over the Irish hillsides as the voices gradually build and swell together. The piece contains a stunning key change from E major to F Major and it is delivered in an amazing way. To us the piece offered comfort in a time of uncertainty in the form of a gentle singing lark and reminds us that we can endure change and hard times together.

CHRISTMAS REPERTOIRE

A BABE WAS BORN – A lovely locally written piece.

A MERRY LITTLE CHRISTMAS – is a medley of delightful Christmas favourites arranged for lower voices with intricacy around a stunning accompaniment. We hear the choir sing Jingle Bells with intense dynamics into a smooth Have Yourself A Merry Little Christmas into Winter Wonderland, Let It Snow! Let It Snow! Let It Snow! over White Christmas, finally returning to a briskly paced Jingle Bells in waltz time to finish off. See if you can spot the hint of O Come All Ye Faithful and Deck the Hall within the piano accompaniment too!

ANGELS WE HAVE HEARD ON HIGH – with a long Gloria!

BOARS HEAD CAROL – A traditional piece performed in 4 part harmony.

CAROL OF THE DRUM – A song about a drummer boy who joined the procession to Bethlehem.

CHRIST CHILD IN THE MANGER – a piece by Kenneth Rothery, adapted by Malcolm Fairless for four part lower voices. This piece brings us directly to the nativity scene of the Christ Child in a place where he could ‘lay his head’ when no other place was available, surrounded by angels who sing of ‘peace on earth’. The song surmises that at this time nobody could have guessed the importance of this baby. The song features Carlton MVC’s basses as they plod playfully like a double bass through the final verse.

DECK THE HALL – our rendition of this traditional welsh carol works equally well opening a set as it does closing it. Its rising bright and quick piano introduction allows the choir to literally burst into song as it enters and sings out the lovely Christmas call ‘Fa la la la la!” as the piano runs away beneath us with gusto. A woozy middle section with a key change brings the pace down for a short while before arranger Alan Simmons changes the key once more into the final rousing chorus.

DO YOU HEAR WHAT I HEAR? – A beautiful Christmas piece with answering phrases.

FANFARE FOR CHRISTMAS DAY – this very short little fanfare is bright and harmonic welcoming in the season. It was written by the English Cockney composer Martin Shaw OBE (1875-1935). Martin Studied under Charles Villers Stamford and is the uncle of Sebastian Shaw who played the unmasked Darth Vader in Return of the Jedi! The piece was written in 1922 but first published in 1928 as one of over 300 works from this prolific composer.

GO TELL IT ON THE MOUNTAIN – an outstanding piece which is tricky in nature to carry off.

LET THERE BE PEACE ON EARTH – a cracking piece wishing for an ideal world.

MARY’S BOY CHILD – the Bonny M classic arranged for choir. This version highlights the vocal talents of a soloist with the choir humming gently underneath and then answering in a vocal swell.

MASTERS IN THIS HALL – a lesser known but majestic carol. The carol was written around 1860 by the French composer Marin Marais and formed part of his opera ‘Alcyone’ a story based upon Greek Mythology. English lyrics were written independently but around the same time as the music by the English poet William Morris (pictured) and are said to be sixteenth century in feel; bringing warning to “the proud” of news brought from over the seas that Christ was born and that nobody should be sad on Christmas Day or the proud will be “cast a-down”.

MISTLETOE & WINE – a bit of Cliff Richard.

O COME, EMMANUEL – a gorgeous piece composed by Elaine Hagenberg that is wonderfully etherial and chant like. Based around the famous Advent Hymn: O Come, O Come, Emmanuel.

O HOLY NIGHT! – the UK’s most favoured Christmas carol ever, sung delightfully by our own tenor Terry Grey with understudy Andrew Moffatt standing by. This arrangement is to be savoured and not rushed and the power of the choir must be impactful and astounding when the lyrics demand but yet diminishing to a whisper when we hear the words ‘Christ is born’. The power of this piece is accentuated superbly when sung by lower voices.

QUEM PASTORES – the famous melody in 3/4 is decorated with lovely piano accompaniment and a beautiful and soft choral delivery of the lyrics “Shepherds worship and adore him, lay their humble gifts before him”.

RISE UP SHEPHERD AND FOLLER – this little spiritual in the Dorian Mode is underlaid by the baritones and basses rising up and down in thirds whilst our tenors provide the traditional melody. It tracks the shepherds as they are encouraged by the angels to follow or ‘folder’ the star in the East, the choir (of course) takes the voice of the angels.

SAVIOUR’S DAY – a bit more of Cliff Richard

SCHNEEWALZER – a romp of a piece where the audience have as much involvement as the choir.

SEE AMID THE WINTER’S SNOW – A traditional carol performed ala male voice choir.

SILVER BELLS – a song composed by  Jay Livingston and Ray Evans and made famous by Bing Crosby and Dean Martin, the song is in four parts and imitates the muffled bell across the choir.

SUSSEX CAROL (ON CHRISTMAS NIGHT) – a joyful 6/8 traditional carol in the feel of two beats, the lyrics describes Christians singing on the news of the holy birth. This piece employs a beautifully flowing accompaniment of fast right hand movement over chords and verse 3 counterpoints two melodies and lyrics together with sheer delight.

TE LAUDAMUS – the story of Joseph and Mary travelling to Bethlehem.

THE CHRISTMAS SONG (CHESTNUTS ROASTING ON AN OPEN FIRE) – Few songs capture the spirit of Christmas quite like The Christmas Song. With its vivid winter imagery and glowing sense of nostalgia, the piece invites listeners into a world of fireside warmth and seasonal reflection. Since its first performance in 1945, it has become a festive standard, famously associated with Nat King Cole, whose smooth interpretation helped cement its place at the heart of Christmas music.

THE STAR CAROL – A wonderful piece to perform at the Christmas season.

THE VERY BEST TIME OF YEAR – a relaxed, smooth piece with luscious and intricate harmonies by John Rutter (arranged by Alwyn Humphreys) who is synonymous for his Christmas repertoire. The song sets the visual scenes that make up this ‘very best’ time of year – Christmas!

WHEN A CHILD IS BORN – Alan Simmons’ arrangement of this famous Christmas song by Zacar/Fred Jay provides the wonder of the season although it never mentions the baby Jesus it hints massively at the story of Christmas.

Thanks to our sponsors!

Find out more about our great value corporate sponsorships here

We are proudly supported by: