A MUSICAL experience as exciting as you’d get at any major London venue took place on February 7 when St Mary’s Church played host to the Henley Choral Society. The choir’s programme was mainly Haydn: Missa Brevis(Little Organ Mass) and Missa in Angustiis (Nelson Mass), two Torelli Brandenburg concertos and J S Bach’s Wir Danken Dir.
The audience was quick to warm to the sheer quality of the participants: an on-form choir and musical director, Will Dawes, four outstanding soloists, an impeccable chamber organist and a dream chamber orchestra, Charivari Agréable Simfonie, directed by Kah-Ming Ng.
Haydn’s Missa Brevis was frenetically polyphonic, but the choir held it all together brilliantly. They sang expressively, especially in the Credo, with well-paced crescendos and diminuendos, a solid bass line and effective, repeated Amens. An organ solo, played delightfully by David Smith, announced the Benedictus and soprano Elizabeth Weisberg. Her impeccable singing was punctuated with incisive entries, crystal-clear high notes and a controlled vibrato that came and went with the changing moods. The closing Agnus Dei’s choral texture was sumptuous. At all times the orchestra was discreet, never overwhelming.
Choirs and soloists can be unsettled by their orchestral accompaniment, notoriously horns and brass, but no such qualms about the Charivari, who are as reliable as any singer could wish for. If they were technically competent in the Haydn, we marvelled at their true capabilities in the two Torelli Brandenburg concertos. Exquisitely performed, these exemplified the best of Baroque style, where the string is stroked by arched bows, without pressure or left-hand vibrato, resulting in purity of sound and heightened sensitivity to phrasing and colour. Especially memorable was the second adagio of the F major Brandenburg, with hints of Vivaldi’s Winter glistening through.
The Bach Cantata continued to bring out the best in the choir. Danken Wir, normally associated with Bach’s B Minor Mass, was beautifully sung, reaching a glorious climax. The Hallelujah was a great platform for tenor Thomas Hobbs, accompanied by solo strings and directed from the harpsichord. Tone and volume were just right, and he sustained an energetic pulse throughout. A bass-baritone aria resounded authoritatively with James Oldfield’s rich timbre, while Lucie Spickova’s opening mezzo-soprano aria was an object lesson in tone production and control.
The second half was taken up with Haydn’s Nelson Mass, this later title reflecting a celebratory angle connected with Horatio Nelson, while the original expressed anxiety about Napoleon’s advance on Austria. It opened with the Kyrie, a well delivered, forceful chorus with powerful solo soprano interjections. Then followed some outstanding bass/tenor duets and solo quartets in the Gloria, while the Qui Tollis heralded another convincing bass-baritone moment. The choir whispered tellingly to organ accompaniment, Elizabeth Weisberg soared skywards with effortless pitch and David Smith made ingenious use of his stops. Et Incarnatus Est, a fabulous movement, opened with a luscious orchestral introduction. The soprano, again dominant, eventually gave way to a solo quartet. Other highlights included the choir’s sensitive Sanctus and the Benedictus’s stunning music with its outstanding orchestral support, while in the Agnus Dei, mezzo-soprano Lucie Spickova took centre-stage, acquitting herself with consummate style.
It is impossible to do justice to all elements of the performance. Suffice to say that, if, like HCS, you aspire to perfection across the board, no expense spared, even down to choreographing the bouquets, the synergistic effect on performance can be breathtaking. We therefore look ahead with excitement to HCS’s next concert on Saturday, June 20 and its celebration of the anniversaries of Mendelssohn and Purcell. Don’t forget to book early. For membership enquiries, please call Wendy Hawkins on (01491) 576929.
Trevor Howell
Published on 23 February 2009
|
