The King’s Singers play the NCPA on Sunday 11 December It’s been over four decades since six choral scholars at King’s College, Cambridge formed an all-male a cappella group, little knowing they would one day redefine the genre. Today, The King’s Singers are fixtures in the world’s best concert halls and cathedrals; they make regular appearances at the UK Proms and on late-night talk shows, and their 150-plus discography covers an amazing breadth of music. They are affable, humorous performers who explain each work before emitting a rapturous sound that brings countless audiences to tears. Their balance and blend is sheer perfection, and their voices nothing short of miraculous. This month, they return to Beijing.
Newest member Jonathan Howard (bass) joined only 13 months ago, but already feels at home, even though he is the group’s only ‘hobby singer’. As a child, he played piano, violin and viola, and started singing at age ten; at fifteen, he joined his boarding school chapel choir. ‘All the boys wanted to sing,’ he explains. ‘That’s where all the really hot girls were.’ He studied classics at New College, Oxford on a choral scholarship then worked at an ad agency, until one day he got a phone call about a possible job. ‘No one applies for The King’s Singers,’ Howard explains. ‘Auditions are by invitation only.’
Beyond having a fine ‘raw instrument’, prospective ‘Kings’ need to fit in. ‘You can’t sound like a soloist,’ says Howard. ‘There’s a certain type of person who can be a King’s Singer. We just know when it works, and it’s always unanimous.’ As for musical interpretations, the members work together but have individual strengths. Howard is the linguist; speaking fluent Latin, Greek, German and French, he aids in pronunciation or textual definitions. Christopher Gabbitas (second baritone) excels at sophisticated tuning and first baritone Philip Lawson is the expert on harmony, arranging and composition.
But even without Lawson’s contribution, their repertoire is immense, ranging from The Lion King to songs commemorating the failed Gunpowder Plot, not to mention countless commissions. ‘There aren’t many groups in the world that are six men – a tenor, a bass, two baritones and two countertenors (men whose vocal range equals alto or mezzo-soprano),’ says Howard. ‘It’s a huge window to write something unique. It’s also important that The King’s Singers seem current, performing pieces from contemporary pop to Renaissance polyphony, with or without orchestra; as long as it suits our voices, we have licence to do anything and everything.’
Regardless, the group still focuses on works from the 15th and 16th centuries, when vocal music hit its apogee. Instruments of the day lacked the technical capabilities to meet composers’ demands, but voices had no limitations and endless textures. Another reason for its success was environment. ‘Back then, music was more a part of everyday life, and the chief form of entertainment,’ says Howard. ‘It’s like an emotional pop song today that really strikes a chord. Voices had the ability to convey what was at the heart of things, the churches and the courts. The harmony was so rich because it was trying to convey a deeper message.’
Singing madrigals is a long way from the ad game, but, for Howard, becoming a ‘King’ was an easy decision. ‘Travelling the world, singing in so many amazing cathedrals – not many 24-year olds get to do that,’ he says. ‘As for professionally, there are only 22 people in the universe that have ‘The King’s Singers’ on their CVs. And even though, at times, the job is stressful,’ he continues. ‘It never feels like work.’
For Beijing, the group has prepared a Christmas programme that spans hundreds of years and includes exciting arrangements and new commissions. If you see one holiday concert this decade…