Bristol Chamber Choir: 188 Years of Song, Spirit and Evolution

As Making Music celebrates its 90th anniversary, we’re spotlighting member groups whose stories reflect the enduring power of collective music-making. Few choirs embody that spirit more richly than Bristol Chamber Choir, whose journey from Victorian madrigal society to modern chamber ensemble spans nearly two centuries. Chair Charlotte Obolensky and Musical Director David Bednall reflect on a legacy of transformation, resilience and musical ambition. 

From madrigals to chamber music 

Founded in 1837 as the Bristol Madrigal Society, the choir’s early years were shaped by the traditions of male-only singing clubs. 'It took about a hundred years before women were admitted,' says Charlotte. 'That must have caused some harumphing into pints at the White Bear'. Originally, boys from the cathedral supplied the upper voices and the repertoire focused on madrigals and part songs. 

The name change to Bristol Chamber Choir in 1988 marked a turning point. 'It was the choir catching up with what it had become,' Charlotte explains. 'The word 'madrigal’ conjures up straw trousers and skipping around singing ‘Hey Nonny Nonny’. It felt limiting, even off-putting.' David adds, 'Chamber Choir is a more inclusive and descriptive name. It’s also great for search engines: if someone looks up ‘chamber choirs in Bristol’, we’re right there.' 

Despite the rebrand, the choir retains its madrigal roots. Every rehearsal ends with 'The Waits,' a cheerful ditty by Jeremy Savile, sung for decades. 'It’s not really a madrigal,' Charlotte laughs, 'but it’s tradition. The sky would fall in if we didn’t sing it.' Another tradition is singing Byrd’s Justorum Animae in rehearsal to honour members who have passed away. 'It’s deeply moving,' she says. 'There’s often not a dry eye in the room.' 

A legacy of commissions and connections 

The choir’s history includes remarkable musical associations. Robert Pearsall was a founder member and Christmas would not be Christmas without singing his setting of In Dulci Jubilo. In the late 19th century, Parry and Stanford composed works for the group and attended performances in the Victoria Rooms. 'To have pieces written by giants of the age and have them present at the concert; that’s astonishing,' says David. 

More recently, the choir benefited from a long relationship with composer Raymond Warren, who served as president until his death in his 90s. 'He wrote several pieces for us and was a benevolent presence at concerts,' Charlotte recalls. His successor, composer John Pickard, continues that legacy. 'It’s lovely to have that composer link,' says David, who studied composition under Pickard. 

The choir also commissioned a piece for the millennium through a competition. 'It was very adventurous; bells, clangs, bongs,' Charlotte says. 'It’s never seen the light of day since, but it’s somewhere in our extensive library.' 

David, himself a composer, is passionate about commissioning music that’s singable and sustainable. 'There’s a risk with commissions,' he explains. 'You can end up with something monstrously difficult that sounds brilliant on the piano but isn’t practical for singers.' His own work, including a mass for St Martin-in-the-Fields, is designed to be accessible and rewarding. 'It’s about writing something that can be done again.' 

Musical identity: serious, sacred, and stretching 

Under David’s direction since 2021, the choir has embraced a more ambitious repertoire. 'We’ve become less frothy,' says Charlotte. 'We’re doing more challenging parts of Tudor polyphony, European sacred works, romantic and contemporary pieces.' 

Recent concerts have included Renaissance requiems, Finzi’s Lo, the Full Final Sacrifice, and Poulenc motets. 'Fiendish,' Charlotte says, 'but so rewarding.' The choir also performs secular summer programmes and Christmas concerts that blend medieval carols with modern motets. 'It’s not just fluffy clouds and angel dust,' David adds. 'There’s some big stuff in there.' 

The choir’s size, around 36 members, shapes its programming. 'We’re not a choral society,' says Charlotte. 'We don’t want to do Elijah. That’s for Bristol Choral Society.' Instead, the choir focuses on unaccompanied music and chamber-scale works. 'You’ve got nowhere to hide,' she says. 'It sorts the sheep from the goats.' 

Welcoming new voices 

New members are auditioned, and re-auditions are part of the choir’s ethos. 'Everyone agrees with auditions until it’s them,' David jokes. 'But it’s essential for maintaining standards.' The process is handled with care. 'We spent a long time on the wording,' says Charlotte. 'And it worked exactly as intended: some people decided it was time to step back.' 

The choir’s age range spans university leavers to retirees, creating a rich intergenerational mix. 'It’s incredibly friendly and inclusive,' says Charlotte. 'People make lifelong friendships here.' One of the choir’s LGBTQIA+ members wrote the inclusivity statement. Another, who is blind, uses a Braille music device and receives advance copies of the repertoire. 'She’s a very accomplished singer,' Charlotte says. 'We worked hard to make it happen, and she makes a real contribution.' 

Rehearsal as the heart of choir life 

With most of the choir’s time spent in rehearsal, the experience needs to be both challenging and enjoyable. 'You can’t add tuning later,' says David. 'It has to be worked on from the start.' Blend and listening are key, especially in 8-part music where singers may be one of only two on a part. 'We move people around, encourage listening, and obsess over phrasing,' he says. 

Digital tools like John Fletcher’s learning tracks support members, and informal sectional meetups help with note learning. 'We don’t expect people to come fully prepared every week,' says David, 'but it’s in our constitution that you’re expected to do some work between rehearsals.' 

The choir’s repertoire is designed to be revisited. 'We don’t do big named works that you shelve for five years,' David explains. 'We come back to pieces like Justorum Animae regularly, and each time it’s deeper, more musical.' 

Looking forward: collaboration and outreach 

David and Charlotte are keen to explore collaborations with other Bristol choirs. 'There’s no point in antagonism,' David says. 'Let’s share audiences and work together.' They also want to take music beyond the city. 'We’re lucky to rehearse centrally,' says Charlotte. 'But taking high-quality choral music to rural communities is enriching for everyone, and you get a good tea out of it!' 

The value of choir in the 21st century 

Asked about the role of choirs today, David is philosophical. 'All human life is in a choir,' he says. 'It’s therapy, it’s community, it’s joy. You’re a cog in a machine; it’s not about you, and that’s powerful.' 

Charlotte agrees. 'There’s a choir for every stage of life. Bristol Chamber Choir has been a huge part of mine.' 

David adds, 'When you sing a piece for the first time, you’re making a friend for life. That music will be with you at your wedding, your funeral, or when you’re sitting alone with a glass of whisky. It speaks when words fail.' 

To learn more about the Bristol Chamber Choir, visit their website and follow them on Facebook / Instagram