Steventon Choral Society
	MD's Big Night at the Royal Albert Hall

Terry Pearce, Musical Director of Steventon Choral Society, writes in the choir newsletter about the visit on 24 November 2000 to the Royal Albert Hall in London to join the sing-in of Handel's Messiah organised by The Really Big Chorus.

"We had been to the Royal Albert Hall many times before (SCS on the TV), but this time it was a bit special. Our friend, John Cook, had made a large donation to the British Heart Foundation and in return they had told him that there would be an extra performance of the Hallelujah Chorus which he could conduct. Or if he did not feel he could do this, he could nominate somebody on his behalf. He decided to phone a friend.

So there I was sitting amongst the basses, one of four thousand singers, trying not to think about what was about to happen. I concentrated on singing and came through the first half unscathed. Then it was into the bar for a much needed glass of orange juice. I was getting nervous. There were words of encouragement from Helen, Tom and John – then it was back into the hall. We are sitting there, and then a gentleman from the British Heart Foundation came out and announced John's generosity and made him stand up. He also announced that John had nominated his friend Terry to conduct for him.

I then had to take a long walk, which seemed to take an eternity, from my seat on the stage down to the conductor's rostrum at the other end of the arena. I arrived at the rostrum, but before climbing up, I shook the leader of the orchestra's hand and said, "I'll give you three four". Then, the proudest moment of my life. I stood there on the rostrum where so many of the world's greatest conductors have stood. I was aware of a figure standing to my right. I looked round and there was Sir David Willcocks. I shook his hand and he said, 'There are two batons there, please use one of them', then he was gone.

I picked up the baton and then realised I was standing on my own in front of The English Festival Orchestra and four thousand singers. I raised the choir to their feet and just prayed I wouldn't let anybody down. I looked down at the orchestra and saw that they were all looking at me. I was aware that my mouth was completely dry. Three four and they were playing. Third bar and the choir is singing. What a sound, and they are all under my control! Letter B and I must bring in the tenors, then the altos, finally the basses. Letter C must sing and play quietly, they do it, brilliant, loud again. Bring in the basses. Will the tenors get their top A? Not a problem. I am aware that it is going well and gradually the nerves are receding and I'm feeling more confident. All of a sudden I turn the page and to my horror I discover it is the last one. I don't want it to end. I'm enjoying it. We come to the final Hal-le-lu-jah, I bring the choir off.

I put down the baton and began to realise that there was applause going on. I turned to bow to the audience and to my amazement they were standing up. I turned back to the choir and orchestra and gave them a clap as a 'thank you', and then I left the rostrum. The leader of the orchestra shook my hand and said, 'You've conducted that before'. I confirmed that I had. I then set out for my seat in the seventh row of the basses having my hand shaken and being patted on the back by everyone that I passed. I wasn't aware of the Steventon ladies jumping up and down and screaming, but I'm assured they did. For about a quarter of an hour afterwards, I couldn't sing a note. At the end of the performance people kept coming up to me to say well done. When I boarded the coach the choir sang 'for he's a jolly good fellow'. I'd like to thank John Cook for making it possible and Helen for her love and support and for making me do it."

© Steventon Choral Society 2000, 2003
Last updated 13 April 2004