Singers impressively rose to challenge of technically demanding piece

THE Mass by Bach was an ambitious choice for the Henley Choral Society, due to its length, high technical demands and the incredible variety of musical forms in differing combinations for vocalists and instrumentalists.

The society rose impressively to its challenges and presented an evening of musical excellence which was much appreciated and enjoyed by everyone in attendance.

The whole Mass reflects a lifetime of Bach’s compositions as it incorporates many of his previous sacred pieces and movements from earlier Lutheran services. Finished in the very last years of his life, it clearly respects traditions of the Latin mass, while presenting a balanced and original musical narrative.

The sheer size of Henley’s large chorus standing up front in the church is always a striking sight and the town is lucky to have such an asset, particularly with its skilled conductor, Richard Harker, at the helm.

The accompaniment by a baroque ensemble playing period instruments, with leader Katie Holmes, provided superb support for the fine line-up of young professional soloists. Particular credit to the Continuo section — organ/harpsichord and cello players — who, as the name implies, did indeed play continuously for soloists and chorus throughout the whole evening.

From the opening adagio vocal chords of Bach’s extraordinary Kyrie Eleison the instrumentalists were an integral part of the music.

As the voices floated in, line by line, undulating and seemingly effortless yet building in strength, we gained an idea of the power and scale of music to come. The lilting duet Christe Eleison which followed, sung by the two sopranos, Harriet Burns and Eva Gheorghiu, was well-balanced and musically phrased.

Burns was also a delight in her aria Laudamus Te, her clear voice heard easily above the interweaving violin part from leader, Holmes.

Similarly, Jack Holton, baritone, sang Quoniam tu solus Sanctus with impressively clear and fluent runs over an active solo horn accompaniment.

The choir, meanwhile, was equally agile in mastering the many scales and running sequences in the following Cum Sancto Spiritu. Alto soloist, Charlie Morris, gave an expressively controlled account of Qui sedes ad dextram, her mellow tone well-matched to this prayer-like aria.

Nick Allen, tenor, gave a very polished account of the Benedictus, during which we also heard some lovely flute playing. Most impressive, however, was the sound emanating forth during larger chorus passages, such as in the fugal entries combining in Credo in unum Deum which opened Part II.

This, for many, is the crux of choral singing and the choir did not disappoint. Earlier on, the exuberant Gloria, enhanced with trumpets and timpani, made great impact, while the jubilant Et expecto resurrectionem mortuorum was also exciting.

In the great Sanctus of Part III there was a majestic sound, despite the obvious complexity of six-part texture, while in the contrasting Osanna in excelsis, the singers maintained an enduring buoyancy and rhythmic vitality.

The final Dona nobis pacem was suitably sublime, with the singers giving us a heartfelt and uplifting end to the evening.

Henley Choral Society welcomes new members. For more information, visit www.
henleychoralsociety.org.uk

Maureen Idowu