'The weekly rehearsals are where the magic forms': Cork choir celebrating 50 years

Fifty years ago, a group of University College Cork students, under conductor Frances Waters, set up a choir with a modest ambition: to become a competitive madrigal ensemble.

Thus, Madrigal ’75 was formed.

Just months after forming, in February, 1975, they entered the madrigal competition at the Cork International Choral Festival, launching a journey defined by artistic growth and a reputation for musical excellence at home and abroad.

“We were a small group back then,” recalls Aiveen Kearney, a member since October, 1975. “With only two singers per part, there was nowhere to hide vocally.”

Today, the choir averages 25-26 singers, depending on repertoire and harmonies needed. Members come from every walk of life -students, teachers, scientists, musicians, retirees - but most are actively engaged in music in some form.

Across five decades, conductors have played a pivotal role in shaping the ensemble’s sound. “We’ve been extremely lucky to work with many brilliant conductors,” Aiveen says. “Each has put their own unique stamp on the choir.”

Under various leaders, Madrigal ’75 has performed in Italy, Switzerland, France, Spain, and the UK, gracing prestigious venues such as Glasgow Cathedral, St Mary’s Episcopal Cathedral in Edinburgh, and London’s St Paul’s Cathedral.

It was during preparations for a week of performances at St Paul’s in 2007 that Madrigal ‘75 first encountered James Taylor - now their longest-serving conductor.

A harpsichordist, organist, and choral conductor, Taylor moved to Cork after postgraduate studies in Montreal to serve as Assistant Organist “to the wonderful Colin Nicholls” at St Finbarre’s Cathedral.

There, he met Madrigal ’75 members who were seeking a rehearsal accompanist, while renowned choral director Mark Duley acted as interim conductor.

“Because Mark could only travel down every few weeks, I took rehearsals in between,” Taylor explains. A back injury prevented him from performing with the choir at St Paul’s, but after returning from London, they invited him to become their new conductor.

“It’s hard to believe it has been 17 years,” he reflects. “I might still be a blow-in, but it’s a privilege to be part of a choir so woven into Cork’s cultural fabric.”

Áine Ní Shé, another long-standing member, praises his leadership.

“James is a superb musician, devoid of ego. He expects commitment, but he’s equally willing to accommodate individual needs.

“Madrigal is essentially an amateur ensemble with a professional mindset. The bar is set quite high - we often sing complex material in eight or ten parts.”

The choir’s success, members agree, is driven by its people. Though diverse in background, each singer shares a commitment to artistic excellence.

The committee’s behind-the-scenes work - organising logistics, supporting rehearsals, and keeping morale high - also sustains the group. “And it’s not all work,” Áine adds. “The social connection fuels the music. After our Christmas concert, we’ll all go out for pizza and break bread together.”

A violinist, Áine says choir membership has deepened her musicianship.

“It trains you to listen - to feel how a vocal line ebbs and flows. That awareness has made my instrumental playing more sensitive.”

But reading music is only a starting point. “Sight-reading helps, but singing notes into your voice and finessing the collective sound -that’s what takes time.”

Catherine Frost, another long-serving member, echoes this.

“It takes a while for a choir to gel. Maintaining sound blend and integrity is our biggest challenge as voices come and go.

“We’re an audition choir, but even a beautiful singer might not be the right blend at a given moment - and there must be a vacancy!”

Taylor agrees. “Creating beautiful music is all about connection. It’s about listening, blending, and communicating.”

As they rehearse for their two-night Christmas series at the MTU Cork School of Music this week, he notes how quickly the music has begun to come alive.

“I select the programme to suit the voices I have, but I don’t know if something will work until I hear it. Then, suddenly, there’s this moment where things click - the voices blend and glimpses of the final performance emerge.

“The concert is the goal, but the weekly rehearsals are where the magic forms.”

For Aiveen, there have been so many ‘magical’ moments over the years. Among the most memorable was Madrigal ’75’s audience prize (Prix de Publique) at their first international competition in Montreux in 1982 for their performance of Gloria, a contemporary Irish piece by Séamus de Barra.

“1982 was a watershed year for us,” she says. “Our conductor at the time, Donal O’Callaghan, believed that to excel at home in the Cork International Choral Festival, we needed a reputation of competing against international choirs abroad.”

“Touring felt ambitious, but it gave us a huge sense of self-belief.”

International travel is more challenging today, Áine notes, due to life commitments and the financial cost, but the choir remains optimistic about touring again.

Other stand-out highlights include recording two CDs, performing at the opening concert of the Cork International Choral Festival, singing at St Martin-in-the-Fields in London, and taking part in events such as Handel’s Messiah at the East Cork Early Music Festival and Bach’s St John’s Passion in Youghal with the Sestina Early Music Ensemble.

“These big works often require collaboration,” Aiveen says. “They’re experiences many choirs never get to have because of the forces involved.”

The choir also fondly remembers stepping in at short notice for the Evocations late-night concert in Cork’s North Cathedral during the choral festival.

A Swedish choir had withdrawn unexpectedly, and festival director John Fitzpatrick asked Madrigal ’75 to take over.

“We’d just come back from UK performances and had the repertoire ready,” Aiveen recalls. “It was a beautiful programme and a very special moment - we knew we had made a difference.”

But not all magic happens on grand stages.

“Some of the most moving experiences come on a random rainy Tuesday,” Catherine muses, “when we suddenly connect with the colour and emotion of a piece. It doesn’t always rely on a venue - the acoustic and ambience elevate the experience for us.”

Younger members feel the impact too. Rhea Kennedy, a fourth-year Bachelor of Music student and one of the choir’s newest additions, says: “It’s such a privilege to sing with such talented people every week. Everyone takes personal responsibility for the music. The choir feels professional while also being valuable to my studies.”

As Madrigal ’75 celebrates its 50th year, its success and longevity is a testament to the many singers and conductors who have shaped its sound.

The anniversary year began with a special collaborative concert with New Dublin Voices in St Patrick’s Church, and concludes with two Christmas concerts at the MTU Cork School of Music as part of the Cork Orchestral Society series.

Alongside seasonal favourites, the programme includes a newly commissioned arrangement of Don Oíche úd i mBeithil by Milo McCarthy, an undergraduate at the MTU Cork School of Music.

Madrigal ’75’s 50th Anniversary Christmas Concerts are on Wednesday and Thursday, December 17 and 18, 5.30pm at MTU Cork School of Music

Tickets €25 from www.corkorchestralsociety.ie.