Musical Director The Bach Choir
Principal Conductor Yale Schola Cantorum
Musical Director Leeds Philharmonic Society
Associate Guest Conductor Bournemouth Symphony Orchestra
Renowned for his fine musicianship, David Hill is widely respected as both a choral and orchestral conductor. His talent has been recognised by his appointments as Musical Director of The Bach Choir, Music Director of Leeds Philharmonic Society, Associate Guest conductor of the Bournemouth Symphony Orchestra and Principal Conductor of Yale Schola Cantorum. He was Chief Conductor of the BBC Singers from September 2007 to September 2017 and is a former Music Director of Southern Sinfonia.
Born in Carlisle and educated at Chetham’s School of Music, of which he is now a Governor, he was made a Fellow of the Royal College of Organists at the remarkably young age of 17. Having been Organ Scholar at St John’s College, Cambridge, David Hill returned to hold the post of Director of Music from 2004-2007. His other appointments have included Master of the Music at Winchester Cathedral, Master of the Music at Westminster Cathedral and Artistic Director of the Philharmonia Chorus. He holds an Honorary Doctorate from the University of Southampton for Services to Music.
David Hill has a broad-ranging discography covering repertoire from Thomas Tallis to a number of world premiere recordings. As well as achieving prestigious Grammy and Gramophone Awards, many of his discs have been recommended as Critic’s Choices. His ongoing series of English choral music for Naxos has received particular acclaim including being shortlisted for the 2010 Gramophone Awards.
Hill has appeared with the BBC Symphony and BBC Philharmonic orchestras, London Philharmonic, City of London Sinfonia, English Chamber Orchestra, Royal Northern Sinfonia, the BBC National Orchestra of Wales, the Royal Liverpool Philharmonic, the Orchestra and Chorus of Welsh National Opera, the Orchestra and Chorus of Opera North, Ulster Orchestra, Hallé Orchestra, RTÉ National Symphony Orchestra, Orchestre Philharmonique de Strasbourg, Sydney Symphony Orchestra, the Minnesota Orchestra, the Omaha Symphony, as well as the Netherlands Radio Choir and RIAS Chamber Choir, Berlin.
This biography is for information only and should not be reproduced.
Yale Schola Cantorum / Palestrina; Missa Confitebor tibi Domine
Hyperion; CDA68210
David Hill produces a marvellous sound from his choir, beautifully tuned, beautifully balanced and with many truly exciting moments... These tracks are an unalloyed pleasure.
David Fallows, Gramophone
Under the masterly direction of David Hill, this crack student choir produces a clean yet luxuriant sound, reflecting the sumptuous vocal resources that might have been used on a major feast day in one of the Roman churches.
Kate Bolton-Porciatti, BBC Music Magazine - Recording ****, performance ****
Palestrina’s Missa Confitebor tibi Domine (1572) is a real find, a glorious work...This stylish, immersed-in, performance is characterised by David Hill’s directness, underpinned by forward momentum.
David Truslove, Classical Source ****
Yale Schola Cantorum / Fauré; Requiem & other sacred music
November 2017; Hyperion; CDA68209
The real glories of the disc come with the handful of rarely heard choral miniatures which are, without exception, absolute gems. Hill’s overall approach is to produce a smooth sound rather than present significant interpretations of the music, and this is an approach that serves these shorter pieces particularly well, investing them with simple beauty rather than emotional or spiritual depth.
Marc Rochester, Gramophone
The motets are a treasure trove of elegant modulations, each in every way beautifully crafted with never a bar too many. Hill's instrumentally expanded version of the Cantique de Jean Racine is equally effective.
Roger Nichols, BBC Music Magazine
Rossini’s Petite messe solennelle / BBC Singers
Proms at … The Chapel, Greenwich / August 2016
This Mass [...] sparkled with vitality and wit under David Hill.
Denise Prentice, Classical Source
The BBC Singers under chief conductor David Hill did much to enliven the choral elements within the work. They produced singing that had a cleanliness to their collective tonal blending from the opening Kyrie and throughout, a subtlety to their articulation of the intricately scored text in the Credo in particular, and thrillingly fulsome yet unforced sound was in evidence in forte passages.
Evan Dickerson, musicOMH
Mahler Symphony No 8 (Symphony of a Thousand) with the Orchestra of Opera North
Leeds International Concert Season at Leeds Town Hall, June 2016
And, best of all, David Hill fully justified his reputation as a fine choral conductor by obtaining immaculate singing from the Leeds Festival Chorus, the Leeds Philharmonic Chorus and the Bradford Catholic Youth Choir.
Ron Simpson, thereviewshub.com
Bach’s Christmas Oratoria with the BBC Scottish Symphony Orchestra and the BBC Singers
City Halls Glasgow, December 2015
David Hill’s conducting was a bullseye job in sheer style.
Michael Tumelty, The Herald *****
Prom 48: Late-night Bach / Academy of Ancient Music, BBC Singers and Soloists
Royal Albert Hall, 21 August 2015
The BBC Singers, directed by David Hill, were impeccable.
Alexandra Coghlan, Artsdesk ****
Bob Chilcott: The Angry Planet
(Signum Classics: SIGCD422)
All [pieces] are clearly articulated and differentiated in performances directed by David Hill.
Alexandra Coghlan, Gramophone
Bournemouth Symphony Orchestra and Chorus: Elgar, Bruch and Finzi
18 March 2015, The Lighthouse, Poole
David Hill clearly knew the work well and paced it perfectly.
Rob Barnett, Seen and Heard International
Hill’s energy, enthusiasm and masterful direction [...]
Phil Smith, Bachtrack
London Symphony Orchestra and Chorus: Duruflé, Debussy and Fauré
1 March 2015, The Barbican
Given the testosterone and star spectacle in many London Symphony Orchestra concerts, it’s an unusual pleasure to spend one night with the judicious, the modest and the shy.[...]the original conductor, Donald Runnicles, caught influenza; David Hill arrived as a reliable late replacement and the sea [Debussy's La Mer] was replaced with Fauré’s Pelléas et Mélisande suite, music so dainty and loveable that it could have been written by a dormouse.
The silken LSO strings in the suite’s Sicilienne were one of the concert’s special joys. Similar beauty arrived during the prelude to Debussy’s early cantata La demoiselle élue. [...] I was grateful for Hill’s lyric flow as the London Symphony Chorus coursed through Dante Gabriel Rossetti’s poem, like a Burne-Jones painting daubed in words.[...]Curled up in my seat, I was content.
Geoff Brown, The Times****
Duruflé’s Requiem is at once an acquired taste and difficult for its performers. Steady rhythms are offset with continuous metrical irregularity. It can easily sound forced, though Hill allowed it to evolve naturally and with great ritual solemnity. The choral singing was first rate and wonderfully majestic.
Tim Ashley, The Guardian****
Serenity was strikingly evident in Sunday night’s concert-opener, Debussy’s lyrical cantata La damoiselle élue (The Blessed Damozel). [...] Its musical language (a heady cocktail of Franck, Massenet and Wagner) was a perfect match for the poem’s imagery and both were magnificently recreated by David Hill and the London Symphony Orchestra. Amongst the many notable qualities of his account was the hushed opening prelude where Hill coaxed from his players some of the most tender playing I’ve heard in this rarely performed work.
With David Hill taking over at such short notice from an indisposed Donald Runnicles, it was perhaps inevitable that there would be a programme change. Fortunately, the all-French theme remained [...] In the [Fauré’s Pelléas et Mélisande] Suite’s four movements, Hill responded effortlessly to the work’s melodic contours and summoned just the right wistful evocation in the first movement and brought to the second a brightly-lit scene where the clarity of Fauré’s scoring is superb.
[...in Durufle’s Requiem] It is the chorus which make the strongest contribution to the work’s emotional impact and in this aspect they were gloriously responsive to Hill’s energising and passionate gestures. [...] Having taken on this programme with just twenty-four hours notice Hill might also have felt some sense of serenity in those closing bars. If he did then it was richly deserved and he must be congratulated for the quality of these fine performances.
David Truslove, bachtrack****
David Hill conducted sympathetically and skilfully. Having stepped in at such short notice I hope he will be given the chance to conduct the LSO again soon.
Alan Sanders, Seen and Heard International
Prom 37: Steve Reich – It’s Gonna Rain, The Desert Music / BBC Singers & Endymion
13 August 2014
Accuracy and stamina...the BBC Singers and Endymion were expertly marshalled by David Hill
Tim Ashley, The Guardian****
it is Hill who deserves the highest praise; his direction communicated the vitality and fragility at the heart of the piece – a thrilling sense of life on the edge.
Laura Battle, Financial Times****
the lion’s share of the credit for this performance should go to David Hill, whose knowledge of and clear love for the score kept the chorus on the front foot, rhythmically tight and vocally expressive.
Ben Hogwood, ClassicalSource
The BBC Singers’ 90th Anniversary Celebration
24 September 2014, The Barbican
[The sequence of Judith Weir Vertue, John Tavener Song for Athene and Britten Hymn to St Cecila] gave the chorus under its chief conductor, David Hill, a chance to show off some versatility...Hill shaped the music with affectionate warmth.
John Allison, The Telegraph****
Bournemouth Symphony Orchestra / The Bach Choir, David Matthews Symphony No. 7 & Vespers
CDLX7305
A mightily impressive find, make no mistake - and another stellar performance, too, this time under the watchful supervision of David Hill.
Gramophone
Herbert Howells: Stabat Mater
(Naxos: 8573176)
David Hill uses a score marked up by Howells with several radical tempi changes that he discovered by chance just a month before recording. The result is a fine reading.
Stephen Pritchard, The Guardian****
David Hill gets into the very soul of the music and extracts an intensely gripping interpretation [...] Conductor, chorus and orchestra are completely at one, which makes this CD memorable.
Shirley Ratcliffe, Choir & Organ*****
All three works here thrive in the hands of these singers, this orchestra and this conductor.
Rob Barnett, MusicWeb International
When the choir suddenly interjects with the words Stabat Mater dolorosa, Hill brings a colossal impact that is then allowed to surge and fall, bringing out all of Howells’ glowing, passionate emotion. The dark, ominous opening of Cujus animam gementem is picked up by the male voices with Hill allowing Howells’ fine development to grow naturally with lovely harmonic shifts and surges of ecstasy. [...] Hill holds a terrific hushed tension as the choir enters on Vidit suum dulcem Natum. [...] It is in the quiet moments such as the hushed orchestral section towards the end that Hill‘s mastery of orchestral shaping is at its most profound. Soon the tenor enters again, bringing such drama and tension.
Bruce Reader, The Classical Reviewer
Though there is much emotional turbulence in this music, Hill maintains a compelling life and forward momentum in Howells’s immensely contrapuntal score [...] A stunning disc [...] A very moving performance.
Jeremy Dibble, Gramophone Editor's Choice
Two exemplary moments must suffice to illustrate why this is an essential Christmas gift for any lover of English music [...] The piece is almost unutterably moving, the present performance fully worthy [...] the whole team of singers and instrumentalists respond with the utmost fervour to Hill's evidently inspiring leadership.
Piers Burton-Page, International Record Review, IRR Outstanding
The Bach Choir and Bournemouth Symphony Orchestra, under David Hill’s brilliant direction, execute Howell’s numinous Stabat mater ... with fluency and insight.
Jeremy Dibble, Gramophone Editor's Choice
The Bach Choir and the London Philharmonia perform Berlioz’s Te Deum
10 June 2014 at the Royal Festival Hall
Under David Hill the Philharmonia played with verve and imagination, much of it their own...Berlioz, in his verdant solos for clarinet and oboe and his bold antiphonal chords, supplies more than enough fantasy on the page. Here, Hill’s choirs blazed in triumph.
Anna Picard, The Times
BBC Prom 70: BBC Singers, Royal Albert Hall
September 2013
With the BBC Singers and the Choristers of Temple Church Choir under David Hill, the result was magical
The Guardian
Under their director, David Hill, the BBC Singers cherished the softly undulating melodies, their syllables striding out in the Dies Irae, their words lightly held, flowing as clear and transparent as a wash of English watercolour.
**** The Times
Britten’s A Boy Was Born – got a stunning performance by a combination of the Temple Church Choir and the BBC Singers under David Hill’s direction.
The Independent
David Hill, choral conductor par excellence, directed with clarity and evident passion... The BBC Singers were joined for this by the boys in red, from the Temple Church Choir, all with angel voices. This was a treat: sophisticated, many-layered music, stamped with signs of the Britten to come, most dextrously performed, with due regard even paid to “authentic” medieval pronunciations.
The Arts Desk
BBC Singers, The Cheltenham Festival
July 2012
The BBC Singers, led by conductor David Hill were meticulous in their approach to the score and subtleties in the music.
Bachtrack
The BBC Singers gave no fewer than four premieres, each in their way extraordinary, in a towering performance directed by David Hill, at Cheltenham College Chapel
The Guardian
the breathtakingly brilliant BBC Singers under David Hill’s wise and remarkable direction came through it all with flying colours
Seen & Heard International
Delius Mass of Life and Prelude & Idyll
Naxos 8572861-62, June 2012
This superb new [recording] from the Bach Choir and Bournemouth Symphony Orchestra in fact increases by 100 per cent the number of versions readily available. … David Hill launches the opening O du mein Wille! with terrific gusto, the chorus and orchestra responding with thrilling impulse and intensity. Even in Part 2, where the tension slackens and the music becomes more meditative, Hill maintains the inner momentum and points up the essential poetry of the piece. In this Delius anniversary year it is good to welcome such a stirring and perceptive interpretation of his work.
***** The Telegraph
There is no doubt from the vivid opening choruses of Parts 1 and 2 of the recording (and what openings!) that the message of the work is a life-affirming one. There is a dynamic momentum to the tempi which perfectly evokes Zarathustra’s ruling passion, the Will of Man, and there is a richness to the orchestral sounds which adds to the sense of muscularity. The chorus negotiate Delius’s often awkward vocal intervals with great skill and the intonation is virtually flawless. Hill brings energy and élan to the third section, ‘In deine Auge’ (for me perhaps the most exhilarating section of Part 1), where the parallel with the end of Act 2 of Die Meistersinger is almost palpable and where the most unusual example of a Delius fugue is given life, vigour and meaning. This is a must for any Delius Liebhaber and, with the added bonus of the later Prelude and Idyll, a marvellous starting point for anyone new to Delius’s unique but compelling art.
Gramophone
David Hill’s impressive new recording with his Bach Choir (in the original German) boasts confident, ardent choral singing and orchestral playing, and a strong solo team
**** BBC Music Magazine
… and this new [recording], from Naxos, has splendid modern sound, a thrilling choir and orchestra, and, in David Hill, a conductor no less devoted to Delius than his more celebrated predecessor
Classical CD of the Week, The Sunday Times
