Praise for this spectacular concert given by the choir at St Martin-in-the-Fields, Trafalgar Square, 28th September 2004
"Take him, earth, for cherishing, in particular was really good, one of
the best performances of it I've heard by an amateur choir"
Clare Stevens, assistant editor Classical Music Magazine. Best of British, September 2004
This
was a programme that contained something for everyone, from a choir that is well
known for its quality of programming and execution of performance. It was a
shame therefore that there wasn’t a larger audience to appreciate this
excellent concert
The
first half contained some wonderful standard repertoire items and the concert
began with the Vaughan Williams antiphon Let
all the world, followed by Stanford’s Magnificat
for Double Choir – a magnificent piece sung with real attention to detail
and texture, aided by the judicious placement of the voices. Elgar’s Give
unto the Lord was a particular treat, though perhaps even more drama could
have been injected into this dramatic work. The Holst Nunc
Dimittis which followed was a
particular highlight, whilst the contrast of Parry’s Blest
Pair of Sirens to conclude the first half was overwhelming and left the
reviewer in tears as he went for refreshment at the interval.
A more
dry-eyed second half revealed more recent treasures, and the Britten Hymn
to the Virgin, though perhaps a little on the brisk side, revealed an
exquisite balance between the choir and the semi-chorus quartet who had
magically appeared in the organ gallery, using the acoustic space in St
Martin’s to best effect. Then followed Howells Take
him Earth for Cherishing and Walton’s Jubilate
Deo, with again some fine solo singing, whilst Tavener’s The
Lamb was reverently and expressively presented, displaying a wide range of
musical nuance and sensitivity throughout.
In
true Vasari form, the last three items were also from contemporary British
composers, and the choir showed how at home it is with this style of repertoire.
Jonathan Dove’s Ecce Beatam Lucem was
well paired with Divo Aloysio Sacrum by
James MacMillan. The final item of the concert was Francis Pott’s My Song is Love Unknown, set to the familiar words of that hymn.
This was perhaps not the right place to put such a long piece, as the
audience’s attention seemed to wander towards their buses home during this
admittedly splendid performance.
Jeremy
Filsell, the organist for the concert, played to a very high standard
throughout. He used the Walker instrument well, though perhaps some of the
registration was a little eccentric, particularly in the Elgar. From where this
reviewer was seated he skilfully accomplished a satisfying balance between choir
and organ throughout, though with any concert where the organ is at the West End
and the choir at the East End, there will always be a difference of opinion on
balance between the audience at the back of the church and those in the middle
or front.
This was singing of the
highest standard, and Jeremy Backhouse, the director, is to be congratulated on
a varied programme which gave something to each member of the audience, yet
allowed for the voice new music to be heard. I am looking forward to Vasari’s
forthcoming contemporary programming, especially for the choir's 25th
anniversary next year, for which 10 new choral a
capella works by British composers have been specially commissioned.
©
Jonathan Newell, September 2004