As part of Making Music’s 90th anniversary celebrations, we’re speaking to some of our long-standing member groups about their history, their impact, and their hopes for the future.
Founded in 1874, the Belfast Philharmonic Society has sung through history; wars, pandemics, and political upheaval, with an unbroken run of performances that now spans more than 150 years. Chair Katherine Hanratty and Chorus Director James Grossmith reflect on a legacy built on musical excellence, community spirit and a deep love of singing.
A tradition of resilience
The Society’s continuity is remarkable. 'We’ve sung through the Troubles, through both World Wars, and even through COVID-19,' says Katherine. During the pandemic, members rehearsed online, recorded a 'fun Messiah' with ABBA and Boney M influences, and tackled Britten’s Saint Nicolas in a digital collage. Social events like quiz nights and Desert Island Discs-style singalongs kept the community connected.
'It’s a big family,' Katherine says. 'Not why I joined, but definitely why I stayed.'
James adds, 'A society like this offers people a chance to lift their vision above the stresses of life. Singing together is a powerful act of unity.'
From Elijah to The Offing
The Society’s first performance in 1874 was Mendelssohn’s Elijah at the Ulster Hall. To mark its 150th anniversary, the Society chose to perform the same work again in the same venue. 'It was a beautiful bookend,' says James. 'The social cohesion and musical ambition felt timeless.'
The anniversary season also saw the premiere of The Offing, a new commission by composer Elaine Agnew with text by poet Sinéad Morrissey. The five-movement piece traces the journey of the River Lagan, with sections for women (linen industry), children (wildlife), and men (shipbuilding), culminating in a unifying final chorus. 'There’s even audience participation and they leave with a riff in their heads,' says Katherine.
Plans are underway to record The Offing, with hopes for radio broadcast. Katherine dreams of animating Movement 3 and is exploring partnerships with university media departments to make it happen. 'As we sing it, you can just imagine the animals and the river. It’s born to be an animation.'
A history of commissions
The Society has a proud tradition of commissioning new music. For its 140th anniversary, James Whitbourn composed The Seven Heavens, inspired by medieval cosmology and the life of C.S. Lewis. For the 125th, Howard Skempton wrote a setting of Yeats’ He Wishes for the Cloths of Heaven. And for the 50th, Edward Norman Hay composed a large-scale cantata that the Society is now reviving.
'We’re passionate about bringing neglected works back to life,' says James. 'It’s part of our cultural stewardship.'
The Society also performed Stanford’s Requiem for the first time in Belfast in 2023. 'It’s a stunning piece,' says James. 'If you ever wanted something to bring you back to the A-list of Stanford’s compositions, this is it.'
Welcoming new voices
With around 150 auditioned members, the Society is a large and ambitious ensemble, and newcomers are warmly welcomed. Section leaders and a dedicated manager help integrate new singers, and open rehearsals are designed to be inclusive. 'We mix new people in deliberately,' says Katherine. 'We want them to feel part of it from the start.'
Digital tools developed during the pandemic (like YouTube tutorials) continue to support members, especially those less confident with sight-reading. 'Rehearsal is 90% of choir life,' says James. 'The music has to be rewarding in rehearsal as well as performance.'
New members typically join in cohorts, which helps build peer support. 'Each section becomes its own mini community,' says James. 'Even within sections, there are subgroups, first sopranos, second sopranos, and so on, and key people who help coordinate everything.'
Youth Choirs: 20 years of growth
The Society’s youth choirs, founded by Christopher Bell, are celebrating their 20th anniversary.
'Young singers go on to study music, teach, and perform with us,' says Katherine. 'It’s wonderful to see that growth.'
Youth choirs have sung in The Offing, Saint Nicolas, and even Carmina Burana with the Ulster Orchestra. Collaborations with the National Youth Choir of Northern Ireland, Northern Ireland Opera (NI Opera) and other youth groups are helping build cohesion across generations. Some have performed solos in The Snowman or joined NI Opera’s production of Tosca, experiences that blend education with professional exposure.
The Society’s youth programme is built on Kodály principles, which emphasise group-based musicianship. 'It’s incredibly inclusive,' says James. 'Everyone develops a shared understanding of rhythm, pitch and harmony through games and collective learning.'
Programming with purpose
The Society’s programming is a careful balance of challenge and accessibility. As the principal symphonic choir for the Ulster Orchestra since 1966, they collaborate closely on repertoire. Upcoming highlights include John Rutter’s Requiem for his 80th birthday (and the piece’s 40th anniversary) and a film music concert next summer.
Past programmes have included Les Misérables, Bohemian Rhapsody and a mash-up of Dies Irae and Bat Out of Hell. Seasonal favourites like The Magic of Christmas are sell-out events at Belfast’s Waterfront Hall.
'We want to take audiences on a journey,' says James. 'And we want our singers to feel stretched but not stressed.'
The Society also runs annual Come and Sing events, inviting the public to join for a day-long workshop and performance. Recent repertoire has included Elgar’s The Black Knight, Fauré’s Requiem and Saint Nicolas, often with youth choir involvement.
Looking forward: innovation and imagination
After the milestone of 150 years, the Society is entering a phase of creative exploration. Collaborations with NI Opera, smaller ensembles and cross-border choirs are on the horizon. Katherine is developing a project with Circus Belfast, combining choral music and aerial performance. 'We want to stretch our creative wings,' she says.
Venue innovation is also a priority. 'We’re looking at non-traditional spaces,' says James. 'Aircraft hangars, historic buildings; places that spark curiosity and bring in new audiences.' Katherine is leveraging her architectural expertise to help identify and access suitable spaces, including potential partnerships with National Museums.
Advice and inspiration
Asked what advice they’d give to other large choirs, Katherine and James are clear: keep going, keep singing and keep creating.
'If you can commission a piece, do it,' says Katherine. 'It’s expensive, but grants are available, and the legacy is priceless.'
James adds: '140 people breathing together, thinking the same thought, working towards the same goal, that’s rare in modern life. The role of the large choral society is more important than ever.'
A recent card from a German singer who spent six months with the choir sums it up: 'I really felt home in the choir with its lovely people, the heartwarming sound of all their voices. Thank you for these months packed with music, laughter and friendly conversations.'
To learn more about the Belfast Philharmonic Society, visit their website and follow them on Facebook / Instagram / YouTube
