Henley Choral Society and Musical Director Will Dawes launched an inspired programme at St Mary’s Church on June21st: Rutter’s Requiem, Vaughan Williams’ In Windsor Forest and his The Lark Ascending.
Centred on the Mass for the Dead, Rutter’s Requiem resonated with a shocked post 9/11 US public, receiving more performances than any other choral work. A surprise this, since the work does not truly pierce the soul. The exception is the opening Requiem Aeternam, whose 12-tone harp motif and atonal choral entry evoke death’s anguish. Short-lived, this yields to a sumptuous melody and texture, handled passionately in performance by Henley Choral Society. A well worked build-up subsided as the timpanist tapped insistently on death’s door.
Out of the Deep began similarly with a quasi-atonal cello solo, introducing contrasts of dissonance and simplicity. The choral melody was accessible and the climax intense.
Soprano Kirsty Hopkins captured the sense of Pie Jesu with a pure chorister’s sound and judicious use of vibrato. Sleigh bells then announced an unexpectedly lightweight Sanctus, in which the sopranos navigated some tricky passages before joining in a climactic ending. In direct contrast, the Agnus Dei’s timpani heartbeats punctuated a dark choral line. The music’s mood fluctuated; the choir sang well. Then followed a real gem, The Lord is my Shepherd: delightful woodwind solos, rich choral texture and a beautifully crafted ending.
Repeated timpani notes introduced Lux Aeterna, where incisive choral unison declarations responded confidently to the soprano line. Her Fauré-like melody merged with a discreet orchestral backdrop. The earlier theme reappeared and tension grew to a glorious apotheosis.
After the interval, we were treated to a flawless rendering of Vaughan Williams’ The Lark Ascending. Violinist Thomas Gould’s stunning interpretation brought the audience to its feet.
In Windsor Forest, Vaughan Williams’ arrangements of his opera Sir John in Love (Falstaff), signalled a boisterous switch to a celebration of Shakespeare’s lighter side. Its energetic opener, The Conspiracy, was performed rumbustiously by solo soprano and choir, followed by Drinking Song, whose spirit was so full-bloodedly embraced by the male chorus that the audience applauded spontaneously. Falstaff and the Fairies inspired some committed choral singing and another beautiful soprano solo. There were ghost-like moans and a swoop down at the end.
In Wedding Chorus a gentler spirit prevailed. The choir wove its way stoically through harmonic extremes. A well worked build-up descended into calmer orchestral waters, while the solo soprano blended discreetly into the overall texture. The closing Epilogue expanded into a full-scale contrapuntal episode, with prominent orchestral part to match. Caution was abandoned as all forces united in a tempestuous finale.
Henley Choral Society clearly appreciates the value of creating events that attract and deliver. Carefully selected soloists, a well prepared choir and excellent hired orchestras (in this case the Senesino Players), were all pulled satisfyingly together by Will Dawes — clear proof of what can be achieved when high professional standards are applied to amateur music-making.
Trevor Howell
Published on 06 July 2008
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