Tag: choral

Hutt Valley choirs combine for two Haydn masses and other items

Posted on by Lindis Taylor

The Wainuiomata Choir and the Hutt Valley Singers, conducted by Brian O’Regan and Eric Sidoti

Haydn: Mass No 7 in B flat, Hob. XXII:7 (Missa Brevis or ‘Little Organ Mass’, 1775)
Mass No 11 in D minor, Hob. XXII:11 (Missa in Angustiis or ‘Nelson Mass’, 1798)
Telemann: ‘Machet die Tore weit’ (Psalm 14:7 and 8)
Fauré: Cantique de Jean Racine
Francesco Durante: Magnificat in C

Church of St James, Lower Hutt

Sunday 18 August, 2:30 pm

It’s embarrassing to find you’ve arrived late because you’d recorded the wrong time in this very website’s Coming Events listings. Though I was a little comforted to find that the document I’d taken the information from, emanating from a choral organization, had it wrong.

But it was still disappointing to have missed the first item on the programme, Haydn’s Little Organ Mass.

The concert was arranged for the two smaller works to be sung by Hutt Valley Singers conducted by the conductor pro tem. Brian O’Regan (he had also conducted the Little Organ Mass: so I am additionally sorry not to have heard him in that larger work with the combined choirs).

Telemann’s output in almost every genre was prodigious though his choral music is probably not as well known as his orchestral and instrumental. This short cantata, Machet die Tore weit, is a lively, tuneful piece in triple time which should have been within the capacity of this choir, but it suffers as a result of too few men’s voices and the very common problem of markedly individual voices affecting the achievement of a homogeneous sound. So the accompaniment by the string orchestra was of significant help in these circumstances.

It was followed by Fauré’s lovely Cantique de Jean Racine; while the start was tentative, the singers
soon gained a degree of assurance, especially when the whole choir was singing and when the strength of the music carried the singers along more successfully than in the Telemann. The accompaniment was from the organ, played by Judy Dumbleton.

There was a general rearrangement of singers and players for the next work, as it involved both choirs (as had the Missa Brevis), as well and the return of the orchestra. It was a Magnificat by Francesco Durante, a contemporary of Bach, Handel, Domenico Scarlatti and Rameau, which was previously believed to be by Pergolesi, as was a great deal of music by other composers who expected to gain a better hearing for their music by publishing it under Pergolesi’s name. The larger Wainuiomata Choir, now conducted by Eric Sidoti, was a different experience, a striking demonstration of the importance of having enough capable singers in every section, especially the men, to create confidence among amateur and not specially skilled voices.

The other important ingredient is an experienced and talented conductor, and Sidoti provided all that was needed to achieve good blend and ensemble, to minimize the effect of voices that might obtrude if left without guidance.

The scene for the second section, the slow ‘Et misericordia’, was set by the orchestra for the entry of soprano soloist, Imogen Thirlwall; her voice was tight to begin with , but her singing was well projected and accurate, as was alto Emily Simcox who followed in this short section.

The men soloists (James Adams and Roger Wilson) joined the women in the fugal ‘Deposuit potentes’, and in the next section they sang a fine duet with steady support from the strings, and throughout, their contributions were important. The solemn peroration involving the whole choir again, dealt with dignity with the famous concluding verse, ‘Sicut erat in principio, et nunc, et semper, et in saecula saeculorum’.

Then, after the interval came the Nelson Mass, so named because Nelson, after his victory over Napoleon at the Battle of the Nile, somehow found himself in 1800 at Eisenstadt (though Haydn’s permanent post at the princely court had ended in the early 90s, he continued to write his series of masses for the Princess Maria, the wife of Prince Nikolaus II Esterhazy who had succeeded to the principality).

Nelson appeared at Eisenstadt (this was the Esterhazy family’s earlier seat, abandoned after Nikolaus I built a new palace, Esterhaza, but returned to by his grandson Nikolaus II because Eisenstadt was closer to Vienna) presumably because Nikolaus II was a major general in the Austrian Imperial army: so a bit of tactical diplomacy? Encouraged by Nelson’s victory, both Austria and Russia formed a coalition with Britain, declaring war on France in 1799. I can find nothing to indicate that Nelson had gone there partly to meet Haydn or to hear the mass that had acquired his name.

The combined choirs found the right quality in this mass, regarded as perhaps the finest of the six written late in Haydn’s career. A martial air coloured the Kyrie, and the Gloria was driven by a firm 4/4 rhythm, followed by Roger Wilson’s striking delivery of the ‘Qui Tollis’, slow and suitably sententious. Here and there, I found myself harbouring heretical thoughts about the character of the music that often seemed rather at odds with what the words were saying, let alone what they might mean to the laity. The fugal treatment of the last words of the section, ‘Cum santo spiritu’ struck me, not for the first time, as pretty artificial and formulaic. However, regardless of one’s reaction to antiquated liturgy, the music was often near Haydn’s most vigorous and inventive, and the singers showed no sign of concern at any moral conflict.

The strings continued to offer fine support, and at several stages the trumpets contributed strongly, for example in the Credo and of course, in the triumphant conclusion of the Agnus Dei: ‘…dona nobis pacem’; and the timpani offered portentous commentary in the Benedictus.

So the ending was what one would expect from a liturgical work that is doubling as victory celebration. The choir, the soloists, the orchestra, and not least conductor Sidoti could be well pleased with their efforts.

 

English sacred and secular song, choral and organ music at Saint Paul’s Cathedral

Posted on by Rosemary Collier

Choir of Wellington Cathedral of St. Paul, conducted by Michael Stewart, with Thomas Gaynor (organ), Jared Holt (baritone) and soloists from the choir

Music of twentieth-century English sacred choral and secular solo music

Wellington Cathedral of St. Paul

Saturday, 17 August 2013, 7pm

These are unconventional times; before the music could commence, Michael Stewart, Director of Music at the Cathedral, had to give the audience instruction on what to do in an earthquake, while reassuring us about the strength of the building.  The back page of the programme had printed details about such procedures.

Following this, Stewart gave brief but informative and humorous spoken introductions to the items.

Entry to the concert was by donation, to support the purchase of a Steinway piano from the former TVNZ studios at Avalon.  Although not titled on the programme, it was a concert of English sacred choral and secular solo twentieth century music.

In honour of the centenary of Benjamin Britten’s birth, the first three items were his Hymn to St. Peter, Hymn to the Virgin and Hymn to St. Columba.  The first began with loud brass tones from the organ, introducing a slow processional-style hymn.  It incorporated similar introductions to each verse.  This was quite taxing music for choir and organist.  Phoebe Sparrow sang magnificently in the solo passages, to a delightful quiet organ accompaniment.

Hymn to the Virgin is better known than the other two.  This piece was sung unaccompanied, with an antiphonal quartet placed in a balcony above the north transept.  All the singers produced great clarity of notes and words.  A louder section of the music introduced some harsh tone from the men occasionally, but otherwise it was a fine performance.

Hymn to St Columba included an organ part, described by Stewart as ‘fiendishly difficult’, but played with no apparent problems by Thomas Gaynor. This was a gorgeous piece.

Jared Holt sang two of Roger Quilter’s lovely songs: ‘Go, lovely rose’ (words by Edmund Waller), and ‘Now sleeps the crimson petal’ (words by Alfred, Lord Tennyson).  Quilter was a master at setting English poetry; I always think it a shame when, as in this case, the poets are not credited in the printed programmes.  Lieder and song could not exist without the marriage of words and music.  These songs suited Jared Holt’s voice very well, and his performance both vocally and in interpretation he was admirable.

I could not say the same about the piano.  Although sitting near the front, and thus not catching too much of what has been described as the ‘bathroom echo’ in the Cathedral, I found the sound soon became an undefined mush when it left the instrument, i.e. there was a lack of definition, whereas my companion found the tone ‘tinny’.  This was not the fault of the pianist (Michael Stewart) nor, presumably, the instrument, but in the first case, caused by the vast and high space, and the second, by the concrete floor under the instrument.  Perhaps it would be better to keep use of the sustaining pedal to a strict minimum.

One of two major choral works on the programme by Ralph Vaughan Williams, his Mass in G minor, written in 1921 for double choir and dedicated to Gustav Holst and his Whitsuntide singers, was unaccompanied. The influence of Tudor music, was noticeable, especially echoes of William Byrd’s masses.

The performance featured beautiful sustained phrases, refined tone and excellent intonation. There were rich harmonies, especially in the Gloria and a quartet of solo voices interspersed the passages for the full choir of around 30 voices here and in later movements.  The soprano and tenor were strong and clear.  The counterpoint section was bright, lively and intricate.

The Credo was full of delicious contrasts.  The choir’s balance was excellent, especially in the quieter passages.  Vaughan Williams’s word-setting was amazingly varied.  The quartet of soloists again made a significant contribution, and the Amen at the end contained elaborate writing, triumphant in mood.

The Sanctus was perhaps the most contemporary (twentieth century) sounding of  the whole work, with interesting harmonies – always resolved.  Significant dynamic variation was incorporated.  A soprano solo introduced the Benedictus where the voices blended beautifully.  The Agnes Dei was another wonderfully varied movement, sung with assurance, accuracy and affecting attention to tone, clarity of diction and gradations of dynamics.

It was a memorable and superb performance of supremely exquisite English church music.

Following the interval was James MacMillan’s ‘A new song’, a choral piece with organ accompaniment.  This exhibited delicacy and robustness by turns.  And there were some tricky turns for the singers, accompanied by pianissimo chords from the organ, which were followed up by loud ones at the end.  However, I did not find the piece very interesting.

Next we heard the one piece on the programme that was written just before the twentieth century (1895), Elgar’s Andante espressivo (Organ Sonata in G major, Op.28), played by Thomas Gaynor.  This I found rather ho-hum – not the playing, nor the choice of tone colours, but the music, which was rather improvisatory in style and did not seem to have much to say.  It became grand and flashy, but with attractive registrations. Elgar wrote very little other organ music, most of it unpublished; perhaps there was nothing in English organ music of the twentieth century with a greater claim to be included in the programme.

Vaughan Williams’s Five Mystical Songs are great favourites of mine.  A large part of their beauty stems from the poems of George Herbert (1593-1632, again not credited). I have always marvelled at the incomparable language used by this remarkable poet.  The composer’s highly sensitive settings, using a modal opening to several of them, are complemented by magical accompaniments, here, the organ substituting for the original setting for orchestra..

I thought that the second song, ‘I got me flowers’ needed a little more variation of tone and dynamics from the soloist, Jared Holt.  The wordless choir part was ethereal, followed by a strong unison ending.
‘Love bade me welcome’ was for soloist and organ only.  Here, there was more subtlety, and a good range of registrations on the organ.  Words were very clear, and the singer’s tone was warm and earnest.  A wordless coda from the choir accompanied the soloist’s final words.  A high pianissimo ending from the organ was marvellously euphoric.

The setting of ‘The Call’ (Come my way, my truth, my life – quoting words from the New Testament) featured modal tonality.  The final, big choral item, ‘Antiphon’ (Let all the world in every corner sing) is
often performed separately from the rest of the cycle.  Its demanding organ part is like triumphant bells.  It is grand and joyous.

Michael Stewart elicits from his choir an energetic sound, with notable flexibility, especially in its superb dynamic range. Most of the singers looked committed and involved in the music, but a few looked completely bland.  Nevertheless, well done, all – not least young organist Thomas Gaynor, home on a break from his studies in the USA.

 

Fine Choral Symphony from Wellington Youth Orchestra, but where’s the audience?

Posted on by Rosemary Collier

Beethoven: Symphony no. 9 in D minor, Op.125

Wellington Youth Orchestra, Chapman Tripp Opera Chorus, members of the Bach Choir, Madeleine Pierard (soprano), Bianca Andrew (mezzo), Derek Hill (tenor), Robert Tucker (bass), conducted by Hamish McKeich

Wellington Town Hall

Monday 29 July 2013, 7pm

The Wellington Youth Orchestra obviously works very hard, and is made up of extremely competent young musicians.  It is only two-and-a-half months since the last concert, which included a taxing Shostakovich Symphony.  Here they are again, playing Beethoven’s demanding final symphony, with choir and soloists; a considerable undertaking for a youth orchestra.

But where was the audience?  This major work has not been performed very recently in Wellington.  Perhaps people think ‘this is a kids’ orchestra – it won’t be very good’.  That is totally incorrect.  Where, though, was the advertising?  I was unaware of the concert until a few days before it happened.  I didn’t see any flyers handed out at other concerts (perhaps there were).  Here was a major choral concert, but the Wellington Regional Committee of the New Zealand Choral Federation was not notified of it, for their excellent listing emailed to choirs, giving details of forthcoming choral concerts.

Not only was the audience small; the orchestra and choir were both smaller than is usually employed for this work.  This did not matter in a less-than-half-full hall, and both lived up to expectations, on the whole.

Again, the orchestra had ‘friends and guest players’, whose names were not listed, joining to support some sections.  I noticed the NZSO’s principal double bass and others added to that section, the principal flute from the NZSO, plus a horn player, a cellist and a violist  There may have been others.

The concert began 10 minutes late – for a relatively early concert timing, this was an irritant.  However, I was soon disarmed by the playing: crisp rhythms and lively variety of dynamics were immediately apparent.  As I sat back and enjoyed the music, I thought what a great a symphony this would have been even without the choral finale.

These young musicians knew what they were doing, as the majestic first movement grew in stature – everything was given full weight.  This is not easy music, but there was no hesitancy and only a very occasional wrong note from this fine ensemble of 50-plus players.

The second movement was driven along forcefully by Hamish McKeich.  All parts were beautifully articulated in this highly dramatic scherzo.  The tempi of the movements were rather confusingly printed in the programme; suffice to say that they are 1 fast; 2  Scherzo: faster; 3 slow; 4 fast, with numerous slower bits interspersed.

The gorgeous slow introduction to the third movement, with its noble melody is followed by
variations upon it.  The playing was full of wonderful woodwind and horn ensembles.  Occasionally the pizzicato accompaniment on strings was not completely together nor loud enough, but that is a quibble; the playing was generally splendid and built up the tension marvellously well.

Beethoven’s motifs came through more than adequately – for example, the frequent pizzicato
passages for the cellos.

The final movement opened quite fast.  There was a big moment for cellos and double basses, and they performed it very well.  Then they were lucky enough to introduce the grand theme upon which the remainder of the movement is built.  The bassoon variation was played superbly.  When the violins finally got their chance, followed by the full orchestra, the music was declaimed with confidence and strength.

Beethoven’s words to introduce Ode to Joy by Friedrich Schiller were sung by Robert Tucker with plenty of power, and a rich vocal quality, although the lowest note was rather beyond his easy reach.  The other soloists were all exemplary, but their placement behind the orchestra meant a lack of volume and clarity at times.

The chorus of about 35 voices was, on the whole, impressive. However, the orchestra rather overwhelmed it at some climactic moments.  The men were strong in their passages sung without the women.  They are frequently asked to sing in a high tessitura, and those passages are spiked with chances for error, only one of which I was aware of the men falling into: shortening the word ‘muss’, thus making an unpleasant hissing noise where it was not wanted.

Tenor Derek Hill is quite slight of build, but he delivered the goods.  Bianca Andrew’s and Madeleine Pierard’s voices blended well, and were similar in timbre.

While I don’t expect the soloists to have ghastly grins on their faces, I would have thought that Ode to Joy might have evinced some appearance of happiness from the soloists, especially at the end; the women particularly looked very glum.  In some performances of the work, but not in this one, the soloists join with the chorus at the end, which seems a good idea – all the singers combining in the last great shouts of joy.

I haven’t listened to a performance of this masterwork for many years – instead, I’ve sung in it
numerous times.  This performance was uplifting – and I didn’t have to worry about whether I could reach the repeated top notes!

 

Capital Choir – joys and travails through Solstice and Winter

Posted on by Peter Mechen

The Capital Choir presents:
Sing the Measure of Solstice and Winter

BEETHOVEN – Mass in C
A Selection of New Zealand Songs
Felicia Edgecombe (director) / Belinda Behle (piano)

Soloists (Beethoven):
Belinda Behle (soprano) / Ruth Armishaw (alto)
Chris Berentson (tenor) / Rhys Cocker (bass)

Janet Gibbs (organ)

Sacred Heart Cathedral, Hill Street,

Sunday 7th July 2013

There’s such a lot of pleasure to be had in singing, and especially if one is musical but doesn’t perhaps command any experience or great expertise on an instrument other than the voice.

And for people like myself who can hear music and enjoy it but would seriously baulk at the thought of making individually-exposed sounds themeslves, there’s safety in numbers in the shape and form of membership of a choir.

Recalling my own short-lived but enjoyable experience as a choir member, I’m sure I would have liked singing with this group in repertoire such as we heard throughout the first half of this concert – a collection of songs, some of them written by the choir’s own director, Felicia Edgecombe, and in one instance with the words written by another choir member, author and poet, Rachel McAlpine.

These were, for the most part, simply-conceived songs, featuring a good deal of strong, well-focused unison sounds, with some differentiation between men’s and women’s voices and enough angularities in the lines (plus the occasional harmony) to pose sufficient of a challenge.

I fancy I would also have appreciated the focused, but always flexible direction of the group’s director, Felicia Edgecombe, being made to feel secure and well-rounded in matters of breathing and phrasing by following her visual example.

And as an intensely private pianist myself, I particularly relished the songs’ piano accompaniments, each sounding so beautifully modulated and flexibly phrased (oh, to be able to play like that!) by Belinda Behle – whose name I couldn’t at first see anywhere in the program relating to the first half of the concert, but whose identity was revealed when I saw she was the soprano soloist in the Beethoven Mass as well! – she is, I believe, the choir’s regular accompanist.

I imagine it would have been a source of pride to have sung those items written especially for the choir by Felicia Edgecombe – the “Nation Prayer”, a kind of New Zealand ballad, a lovely setting of a gorgeous Gerard Manly Hopkins poem, complete with a final, affirming “Praise Him!”, and a setting of a poem “Once in a While” by Brian Turner, which featured the choir’s bass voices steadfastly holding their line throughout the first part.

Most interesting of these was, I thought, the setting of Rachel McAlpine’s lines throughout a work entitled “World”, words which the poet herself read before the performance. With bells pealing at the start, the women launched into the setting splendidly, then supported the men’s verse following – perhaps the voices didn’t quite have the “oomph” necessary to bring off the climax of the last verse, though the subsequent upward modulation seemed to give the choir more “heart”, and strengthen everybody’s resolve.

Part of the fascination of singing in a choir was, I remember, marvelling at the confidence and skill with which any soloists present would deliver their lines – so exposed, and yet so focused and purposeful. In this respect the Beethoven Mass would have been a real treat – four very different voices, beginning Beethoven’s “Kyrie” confidently, and shaping their lines throughout the “Gloria” with plenty of musicality.

In general, this was a performance of the Beethoven work by the choir that started strongly, but seemed to lose its choral focus as the work progressed. Throughout the Kyrie and Gloria, my notes contain comments such as “Women very strong – hold their lines well” and “Enthusiastic – a little strained, but nicely shaped” – and at one point where the accompanying organ unaccountably stopped, towards the end of the Gloria, the choir continued as if its life depended the outcome, holding its tone firm and its ensemble truly (I understand the organist was taken ill, hence the momentary lapse).

However, from the Credo on, the performance seemed in places under-parted – in particular, the men were often tentative-sounding, though lack of weight of numbers certainly contributed to the weak, non-upholstered body of choral sound in places.

By dint of having the most resplendent-sounding solo voices the alto Ruth Armishaw and bass Rhys Cocker were able to fill out their tones with ample variation of intensity and colour. Though plainer and more subdued by comparison the sweet-toned soprano of Belinda Behle and Chris Berentson’s true-voiced tenor managed to maintain their respective lines and hold their own in ensemble passages, achieving an attractive blend in places. And towards the end of the Gloria,in that typically Beethovenian build-up of tensions, the singers seemed inspired, led by the soprano, keeping their lines steadfastly to the end.

I would have thundered as loudly as I could at the beginning of the Credo, had I been singing – I felt tempted to join in anyway, as there didn’t seem enough power in those voices at this point. It was left to our soloists to “focus” the music, which they did at “Et incarnatus est” – again both bass and alto shone during their respective solos, at  “Et resurrexit” and “Et in Spiritum Sanctum”  How amazingly like the Missa Solemnis  this music is in places – obviously a kind of preliminary run on the composer’s part!

I don’t think I would have liked to sing the Sanctus, much – all that chromatic writing! But I did wonder as to whether there had been sufficient rehearsal though these sequences, because they sounded to me as though they were being sight-read, here. Again, the soloists came to the rescue in the “Benedictus”, Ruth Armishaw in particular a tower of strength, despite the briefest of stumbling over an ending to “In Nomine Domine” – and, the final lines of the ensemble were simply heavenly!

The choir rallied itself for the final Agnus Dei, achieving the “cry of anguish” at the beginning,and establishing a coherent sense of ebb and flow through to the end. For me, the music had a wonderful kind of dark “Gothic” feeling about it in places, which the choir was able to sustain, and which the soloists were able to work their contrasting “Dona nobis pacem” passages against to good effect.

So – a mixed bag, with the warm, heartfelt choral singing throughout the first half and the work of the soloists during the Beethoven Mass the most notable features. Even the undernourished choral singing during parts of the Mass didn’t for me negate the work’s glory, so, all-in-all, I was grateful to have heard it done, this “little brother” of the great Missa Solemnis.

 

 

 

 

 

 

Tremendous panache from performers in Verdi’s epic Requiem

Posted on by admin

VERDI – REQUIEM MASS

Lisa Harper-Brown (soprano), Margaret Medlyn (mezzo), Rosario La Spina (tenor), Jud Arthur (bass)

Orpheus Choir and City Choir Dunedin

NZSO conducted by Pietari Inkinen

Michael Fowler Centre, Wellington

Saturday 29th June.

Verdi’s Requiem was presented last Saturday evening with tremendous panache by a huge group of musicians who all seemed to revel in the privilege of performing this epic work. Their enthusiasm was palpable, in a way that communicated itself to the audience and created a gala atmosphere that was further enhanced by the wonderful lighting of the rich timber work in the dome . The huge range of dynamic and dramatic possibilities, and the riveting contrasts crafted by Verdi were brought out by Inkinen’s direction in every movement of the score.

A great deal has been written about the dramatic and operatic style of the Requiem by those who question whether such overt dramatism is appropriate for a work that contemplates death. But the score makes it clear that Verdi saw much more than contemplation in the gamut of emotions facing a dying human being. He threw his formidable talent at the challenge of expressing a whole range of feelings with no holds barred, and this was a performance that did that intention proud. The musicians barely whispered the breathless plea of the opening Requiem aeterna,  yet  repeatedly unleashed a shrieking terror of divine wrath in the recurring Dies irae. The contemplative numbers were sensitively crafted by the singers in solos and ensembles alike, and they were supported by some breathtaking obligati from the woodwind principals, the first bassoon being the standout example.

There were very few moments that were less than satisfactory. Lisa Harper-Brown embraced the huge demands of the solo soprano score with complete technical mastery and projected clearly over the strongest orchestral and choral passages. Margaret Medlyn’s musicianship was, as always, eminently sensitive and convincing, but there were times when the pitch and timbre of her voice could not quite float through the orchestration provided for the mezzo solos. Jud Arthur likewise needed more power and definition than his voice could find to sound strong and satisfying in some numbers. Rosario La Spina could soar effortlessly over the combined choir and orchestra, but was sometimes too dominant in the tenor voice of ensemble numbers. Margaret Medlyn and Jud Arthur were both sometimes difficult to hear within the solo ensemble when it was set against the massed choirs and full orchestral resources.

Inkinen was apparently conducting the Requiem for the first time on this NZSO tour. But his beat was always clear and sure and only once, in the Sanctus, did he set off at a tempo which left the disparate choral and orchestral strands struggling to mesh their rhythm. His control of the vast dynamic range and huge dramatic contrasts demanded by the score was truly impressive, and it was clear that even the most distant chorister responded to such clear, emphatic leadership. The orchestra was in splendid form, and the strings and wind had no trouble holding their own with Verdi’s fullest orchestration for brass and percussion.

The performance built inexorably to a riveting climax that was capped off with thunderous applause from the packed auditorium. The glowing faces and excited comments that buzzed in the lobbies afterwards expressed the enormous enthusiasm of the audience, and the sense of being privileged to experience such a powerful work so magnificently presented. Judging by the turnout on Saturday, the NZSO should take these reactions to heart, and more often consider the great masses and requiems of such as Mozart, Brahms, Beethoven etc. when preparing future programmes.

Pieces of eight from Nota Bene

Posted on by Rosemary Collier

Pieces of Eight: Works in eight parts

de Monte: Super lumina Babylonis / Peter Philips: Ecce tu pulchra es
Byrd: Quomodo cantabinus / Purcell: Prelude (organ)  Hear my prayer
Lotti: Crucifixus / Bach:  Alle Menschen müssen sterben, BWV 117 (organ)
Singet dem Herrn, BWV 225
Brahms: Es ist ein Ros’ entsprungen (organ) / Unsere Väter hofften auf dich  Wenn ein starker Gewappneter / Wo ist ein so herrlich Volk
Greene: Voluntary in E flat (organ) / Pearsall: Lay a garland /Great God of love
Holst: Ave Maria / Mendelssohn: No.4 from Lieder ohne Worte Op.19 (organ)
Kyrie, Ehre sei Gott in der Höhe, Heilig, heilig

Nota Bene Chamber Choir, conducted by Peter Walls, with soloists, and Erin Helyard (chamber organ)

Sacred Heart Cathedral, Hill Street

Saturday, 15 June 2013, 7.30pm

Once again, a concert of innovative programming from Nota Bene.  This time, it was made up of pieces written for eight parts, mainly in the form of two choirs.  The result was a performance full of animation, with interesting and appealing music well sung, providing enjoyment for the audience, which pretty well filled the venue.  The dates of the compositions ranged from sixteenth century through to twentieth century.

All the words were printed in the programme; in lieu of programme notes, Peter Walls gave short, knowledgeable spoken introductions to each bracket of music.

Philippe de Monte was a Belgian working in Prague; his setting of ‘By the waters of Babylon’ was unccompanied, and sung antiphonally.  Immediately I was struck by the rich bass lines; the whole piece was delicious, especially the ending.

The Philips item had one choir echoing the other.  The variety of dynamics from the choir was excellent, as was the unanimity of tone, i.e. blend.

Byrd, as a Catholic composer in what was, in the later sixteenth century, Protestant England, gave added meaning (and danger?) to the words ‘How shall we sing the Lord’s song in a strange land?’  Heard in Wellington’s Catholic cathedral, these words not only had point, but the acoustics made all the music sound good.

Here came the first of the interspersed items played on chamber organ by Erin Helyard: a Purcell prelude probably played at the funeral of King Charles II.  It was a piece of varied tempi, making an apt introduction to the Purcell anthem, ‘Hear my prayer’.  All the words, here and elsewhere, were very clear, and the dynamics, rising to double forte, were admirable, although the opening of the piece, accompanied by the organ, was slightly hesitant.

Lotti used discord most effectively in the single choir (not polychoral) ‘Crucifixus’.  The sound veritably shimmered, especially where sopranos were at the top of their range, and basses at the lowest part of theirs.  I could not help noticing the sparsity of  eyes upon the conductor – no doubt a reflection of the complicated music and the full and varied programme – but what a contrast to The Big Sing the other night, where the young people had memorised all their music!  Nota Bene is a relatively youthful choir, but that would be too tall an order!

A short organ piece by Bach followed.  I would have liked a little more lift between repeated notes and chords in this, and more phrasing of the lines of the chorale melody (i.e. hymn-tune).

Bach’s motet ‘Singet dem Herrn’ is a wonderful example of baroque-era choral music.  It was accompanied on organ; the choir and organ were not always absolutely together, and the blend was not so good here, but the complex and brilliant texture nevertheless came over well.  The chorale and aria middle section of the motet was unaccompanied, and the fine voices of the soloists (Amanda Barclay, Katherine Hodge, Phillip Collins and Matthew Landreth) were projected splendidly, as were the smooth, beautiful sounds from the choir.

After the interval, a short Brahms piece from the organ.  This, and the later Mendelssohn one, would have sounded better from the big organ, with more tone colours available for the Romantic era music.

The three Brahms choral pieces that make up Fest- und Gedenksprüche I had not heard before.  All three were sung antiphonally, and featured excellent German pronunciation.  I found the second, ‘Wenn ein starker Gewappneter’ particularly effective, with its interweaving parts and long sustained lines.  In this acoustic, the latter were more satisfactory than rapid runs.

The third of the trio, ‘Wo ist ein so herrlich Volk’ contained lovely suspensions.  We were treated to a pure sound from the choir when required, and plenty of fortissimo passages, along with confident treatment of changes in tonality.  I found this one of the most satisfying items of the evening.  Both Brahms and Mendelssohn (heard later) were admirers of, and influenced by, J.S. Bach; this made a link through the programme.

An English bracket followed, starting with a slow organ voluntary of Maurice Greene’s.  Next came the madrigal by Robert Pearsall ‘Lay a garland’ (a favourite of Peter Godfrey’s), sung in single choir, with beautiful tone, except for some straining in the tenors, but making the most of the exquisite writing; a second Pearsall madrigal followed after the Holst.

Holst’s ‘Ave Maria’ was sung by women only.  The ‘Benedicta’ section was sung strongly the first time, then in the repeat, pulled back to give an ethereal effect.  I did feel that Holst went on a bit too long with too much repetition, thus running out of steam and losing effect.

Mendelssohn completed the programme.  I thought playing one of the Songs without Words on the organ was most unfortunate.  The music needed the clarity of the piano.  Perhaps adding a 2-foot stop would have helped – it sounded heavy, and not in the least like a song.  I have attended other concerts with interspersed appropriate short organ pieces that have worked better than was the case on this occasion.

The composer’s German Liturgy is familiar to me from the National Youth Choir’s frequent singing of it.  A quartet of solos in the middle (Amanda Barclay, Maaike Christie-Beekman, Phillip Collins and Simon Christie) was sung gratifyingly well, as indeed were all three movements.  ‘Heilig, heilig’ succumbed to a false start, but proved to be performed in a very positive, affirming style with exemplary tone, making a good way to end the concert.

Big Sing for a big occasion

Posted on by Rosemary Collier

Wellington Regional Big Sing Gala Concert (New Zealand Choral Federation Secondary Schools’ Choir Festivals)

Wellington Town Hall

Thursday, 6 June 2013

More choirs from the region performed in the two gala concerts this year: 42 choirs from 22 schools; last year thirty choirs from nineteen schools performed.  It is marvellous to find so many young people taking part in choirs and obviously enjoying it, and that some have student conductors and accompanists.  The fact that all the choirs learnt all their pieces by heart is staggering to us mere adults who sing in choirs, to whom this is an almost overwhelming difficulty.  An excellent effect of memorisation is that for the most part, words come over clearly – not always the case when singers are constantly glancing down at printed copies.   Every eye here was on the conductors – except for those few choirs who were able to perform without anyone standing in front of them to direct things.

Another factor in the success of the evening (the second of two gala concerts) was the excitement in the hall and the large, enthusiastic audience.

Unlike the protocol for the National Finale (to be held in a couple of months’ time), the judges do not choose the item to be sung by each choir at the regional finale, from the three items presented in the daytime sessions.  The result for the regional finale is that the majority of the choirs choose modern popular items, rather than those that might be classified by the rather unsatisfactory title of ‘classical’ or ‘serious’ music.

Neither of these terms should be taken to be totally descriptive; there is much good choral music being composed right now, and over the past 40 years, including by Bob Chilcott, John Rutter, and New Zealanders David Hamilton, Anthony Ritchie, Gareth Farr and others – and some of this was represented in the choices made.  So much of this is neither classical nor serious, but it is broadly in the Western music tradition, and not part of the popular repertoire.

I do not feel equipped with the experience to judge the relative merits of the pieces of popular repertoire chosen by the choirs.  I do know that I found the best choral singing to be mainly in those few pieces of ‘classical’ repertoire that were performed.  One problem with quite a number of the popular pieces was that they sat low in the voices.  It is not easy for young singers to project notes at the bottom of their registers, nor does it make great listening, because the tone is not as pleasing as it would be in music set higher.  Suitability of the music for the range of the performers’ voices would surely be one of the criteria considered by adjudicators.  This is not to say that the voices were not well-trained; for the most part they were.

Tawa College’s Dawn Chorus, a very large choir, opened the programme.  The criticism about the pitch level of the piece chosen certainly applied in this case.  The song ‘Fix You’ was accompanied by electric guitar, which couldn’t be heard by the upstairs audience, and electronic keyboard, which came over as a buzzing noise.

The next Tawa College choir, Harmony with Spirit (girls only) chose a piece that was also too low (‘Jesus, what a beautiful name’).  The style of the song, and of the solo, I found unappealing.  The other choir from Tawa College, Blue Notes, was very skilled.  ‘Hide and Seek’ by Imogen Heap was quite an intricate piece, and was sung with great control and excellent effect – though it, too, started very low in the voices.

Heretaunga College’s choir knew the words of ‘Sellotape’ and sang pretty well, but they did not project the story of the song to the audience – it was all a bit reticent.

Beethoven would have had a shock at the pop version of ‘Joyful, joyful’ based on the final movement of his ninth symphony, sung by Wellington East Girls’ College Multi Choir.  Conducted and accompanied by students, it began as a rather slow rendition of the choral part of that work, but it became a rap and pop version, with a Pasifika slant.

The Senior Choir from the same school produced another low-voice number: ‘Forget You’ by Bruno Mars.  A student conductor led the choir, and teacher (Brent Stewart) and students provided a three-piece instrumental backing.

Palmerston North Boys’ High School’s OK Chorale has always done well at The Big Sing.  The 16 voices produced accompanying noises as well as singing, in ‘You Oughta be in Love’ by Dave Dobbyn, in a special arrangement.  The solo was a little disappointing, but rhythm and expression were strong.

Samuel Marsden Collegiate’s Senior Chamber Choir sang a piece by New Zealander Craig Utting: ‘Monument’, from a set of songs, the words by Alistair Campbell.  This was partly accompanied, partly unaccompanied.  Good tone in this very effective setting was a little spoiled by wobbly intonation in places.  The piece certainly deserves being taken up widely; being for treble voices only, there should be plenty of opportunity for this.

The same school’s Ad Summa Chorale, a student-led choir, performed Adiemus by Karl Jenkins.  I have to confess I usually find this composer’s music somewhat trite, and so it was on this occasion.  The singing was perfectly adequate

Next came one of the evening’s high points: Wellington College and Wellington Girls’ College Combined Choir sang Fauré’s beautiful Cantique de Jean Racine, with organ.  This was a good effort.  The singing had clarity and was expressive, the voices at the top being particularly fine.

Another work with organ, played by Michael Fletcher, followed after the interval, from the same school’s huge Teal choir.  The Kyrie from Missa St. Aloysii by Michael Haydn would not have been easy to memorise.  Pitch was not always spot on, but overall, the choir did well.

Nicola Sutherland had a busy time directing four choirs all together this time from the piano.  The Year 9 Choir from the same school sang ‘If I only had a Brain’, which included a lot of actions (as indeed did a number of other items in the programme).  There was not the same level of projection from this choir.  The last choir from Wellington Girls’ College, Teal Voices, sang Vivaldi’s ‘Domine Fili Unigenite’, from his Gloria.  It was performed with organ and cellist Paul Mitchell.  The pronunciation of the Latin words was better than that to be heard from many adult choirs, and the cohesion of the choir created a very pleasing performance.

Kapiti College’s choir sang a Cole Porter number, ‘Every Time we say Goodbye’; quite a difficult piece, but done well, with attractive sound and excellent intonation.

Marsden Collegiate, Whitby, was not really up to the standard of most of the other choirs.  Their ‘Arithmetic’ by Brooke Fraser had not only a student accompanist but also a student violinist.

Bernard’s Men from St. Bernard’s College produced a good body of sound, including a solo, in Ruru Karaitiana’s well-known ‘Blue Smoke’.  There were some small boys in the choir as well as tall seniors.  I couldn’t hear any soprano sounds, though the young boys were certainly opening and closing their mouths.  The whole was well-presented, though perhaps a little uncommitted.

An excellent choice for a junior choir was Sacred Heart’s ‘The African Medley’ arranged by Julian Raphael.  The student conductor (and another student on drums) gained exemplary projection from the choir.  The same school’s Senior Choir sang Gareth Farr’s ‘Tangi te kawekawea’.  The choir did not sound very secure – perhaps the work was too difficult for them.  Nor was the blend as good as most of the choirs demonstrated.

Two Wairarapa choirs combined as Viva Camerata: Rathkeale and St. Matthew’s Senior College.  They sang Steven Rapana’s arrangement of ‘Le Masina E’, a Polynesian piece, accompanied by a wooden drum and another percussion instrument made of a rolled up Island mat.  The choir began strongly after a solo invocation.  There was no conductor, yet the timing was excellent, as was the choral tone.  Along with actions, the singers had projection plus!

The final item was from St. Patrick’s College (town) and Chilton St. James combined choir, PatChWork.  This was a case of keeping the best till last.  New Zealander Chris Artley has composed a number of choral pieces, and ‘I will lift up mine eyes’ was an outstanding one, set for choir, organ (played by Janet Gibbs) and trumpet.  Again parts of the piece were a little low for young voices, but the whole performance was projected well, and performed with unity and precision of words.  For me, it was the highlight of the evening, not least for the wonderful trumpet playing of a student from Chilton St. James.

Preceding the award of certificates to every  participating choir, the adjucator, Nick Richardson from Auckland spoke briefly, urging the participants to carry on singing when they leave school.  Yet the style of much of the music performed would not necessarily lead to this.  Some might form pop or rock groups perhaps.  Then there are Barbershop and Sweet Adeline groups.  Most youth and adult choirs do not sing the repertoire we heard; most of them perform what could loosely be called ‘classical’ repertoire, though they may include lighter items.

Various cups and awards were presented – too many to enumerate here.  They will doubtless be listed on The Big Sing’s website.  Suffice to say that PatChWork won the award for best performance of a New Zealand composition.

 

Mozart ‘s take on Handel – warmth more than refiner’s fire

Posted on by Peter Mechen

Choirs Aotearoa New Zealand Trust presents:

HANDEL’S MESSIAH as arranged by MOZART

Morag Atchison (soprano) / Bianca Andrew (mezzo-soprano)

Henry Choo (tenor) / James Clayton (bass)

Voices New Zealand Chamber Choir

Orchestra Wellington

Tecwyn Evans (conductor)

Town Hall, Wellington

Sunday 2nd June 2013

Being a bit of a “Messiah-buff” I was, I must admit, excited at the prospect of attending this concert, as I had never heard the famed Mozart “arrangement” of the music. I was naturally intrigued as to how it all would sound, and if and to what extent Mozart might have done the equivalent for his time of what Hamilton Harty in the 1920s and Eugene Goosens in the 1950s did with their arrangements of some of Handel’s music.

I prepared myself for all possibilities, anything ranging from either a full-blown makeover, bewildering in its complexity, to a far more subtle, “spot-the-difference” scenario. I deliberately held back from reading-up beforehand on what Mozart had or hadn’t done, thinking the impact of it all would be all the greater for me through having an element of surprise.

Hearing it all for the first time left me with a curious mixture of feelings. The experience actually brought to mind my first-ever encounter with Ravel’s orchestration of Musorgsky’s “Pictures from an exhibition”, particularly as I had by sheer chance become familiar with Musorgsky’s piano solo original long before I heard Ravel’s revamp for full orchestra. As then, I found myself torn anew between admiration, enjoyment, surprise and dismay at what had been done. Here, I certainly admired and enjoyed many a felicitous Mozartean detail, but was equally taken aback at a number of changes I thought quite wrong-headed. Why, I thought, would a composer change something in another composer’s music that worked so well just as it was?

So, I decided to read about the background to what Mozart had done, and it all began to make sense – as well as, incidentally, having a number of parallels with what Ravel did regarding Musorgsky’s work, and why. Both operations had been planned as “rescue jobs”, and each was the brainchild of a third person. In Musorgsky’s and Ravel’s case, the instigator was the conductor Serge Koussevitsky, while Mozart’s arrangement of Handel’s work was commissioned by one Gottfried van Swieten, a diplomat, patron of the arts, and at the time the Imperial Librarian and a Minister in the Emperor Joseph II’s government.

Van Swieten, though an enthusiast for Baroque music, thought that Handel’s work needed bringing”up-to-date” for contemporary tastes. Although a mere 48 years separated the premiere of Messiah and Mozart’s arrangement of the work, the musical world had changed almost beyond recognition during that time. The baroque style had gone, and people were thoroughly accustomed to the more textured and varied tonal colours of the classical orchestras. Messiah was actually the second of four commissions Mozart received from Van Swieten relating to Handel’s music, the others being the masque Acis and Galatea, and the cantatas Ode for St.Cecilia’s Day and Alexander’s Feast. Mozart’s brief was to “modernize” the music, which idea makes an interesting variant upon present-day thinking regarding authentic performance practice.

That Mozart’s work was regarded as successful can be gauged by contemporary reports of the premiere of what was known as Der Messias staged by van Swieten in Vienna in March 1789, with Mozart himself conducting the performance. One review stated that Mozart had “exercised the greatest delicacy by touching nothing that transcends the style of his time….the choral sections are left as Handel wrote them and are only amplified cautiously now and again by wind instruments”. Which wasn’t strictly true, as Mozart recast the openings of several of the Part One choruses for the soloists’ voices – and the “cautiously” comment regarding the wind instruments was something of an understatement. There’s a significant amount of wind writing added to the score – clarinets, flutes, and horns, with extra writing for oboes and bassoons, away from simple accompaniment.

The writing for brass was also augmented, with the high trumpet parts shared (more “taken over!”, really) by the french horn, particularly noticeable during the bass aria “The trumpet shall sound”. Trombones (a wonderful sound!) were also very much in evidence, supporting and enriching (often darkening) the lower lines. In all, the effect for me was a Mozartean “fleshing-out” of Handelian muscle and bones, the wind parts through the instruments’ textures and timbres bringing colour and warmth to much of the music. At first these things seemed alien to the relative austerity I was accustomed to hearing, with the effect somewhat fussy – but after a while my ear began to expect a “warming-up” of those textures, and a more varied colour-spectrum along many of the lines. In this way, Mozart was able to shed new and varied light on the old most successfully.

I was far less convinced by the recasting of the chorus openings for solo voices – mercifully, throughout Parts Two and Three, Mozart himself seemed less inclined to press the idea, and left most of the remaining choruses intact, though allowing the soloists to join in. But the magic frisson of some of those quieter original choral beginnings, such as “And he shall purify” and “For unto us” were lost here, and the effect to my ears coarsened by crude interchanges between the soloists and the choir. Unlike with the wind and brass additions, nowhere did I think Mozart improved on Handel’s treatment of his voices, either solo or choral. Incidentally, Mozart used a German translation of the words – but here, we had the original English (odd to think of the work being sung in any other language – maybe that sentiment’s a tad ethnocentric….).

So, there we all were, on the first winter Sunday of the year, gathered in the Town Hall in Wellington (soon to be closed for earthquake-protection strengthening). Though the weather obligingly underlined the change of season, many hardy souls braved wind and rain to make up a creditable attendance. On hand to reward such resolve was the Voices New Zealand Chamber Choir, attended by members of Orchestra Wellington and four solo singers, the ensemble directed by Tecwyn Evans.

Listening to and thinking about the work and its performance on this occasion was an interesting experience in itself, as I would find myself switching modes, first analyst and then critic, registering by turns what was happening and how it was being performed. Straight away, one registered the grander, darker sound of trombones in the Overture, and the warmer colourings of the winds in various other places. A mixed blessing, as I’ve said – I thought Mozart unduly reduced the stark impact of the aria “He was despised” by adding winds, but his writing of creepily chromatic descents for the instruments in “The people who walked” gave the darkness an almost infernal, Don Giovanni-like aspect. Conversely, the wind parts during the “Pastoral Symphony”, augmented by spit-spot choral singing, caused the music to positively scintillate in places, entirely appropriately.

Though their impact upon the performance was reduced throughout Part One by Mozart’s changes, the Voices New Zealand Chamber Choir sang superbly, throughout, coping well with some of the idiosyncrasies of the arrangement (odd accented phrasings in “All we like sheep” at the words “..have-GONE-a-STRAA-aa-AA-aa-AA…” – like someone trying to sing while being vigorously shaken!), but elsewhere displaying agility, strength, ease and wonderful variation of tone. For example, in “Surely He hath borne our griefs” I could feel the physical impact of the men’s singing of the words “bruised for our iniquities” , while a glorious outpouring of tones from the women’s voices at one point during the “Amen” chorus actually gave me goosebumps! I would have liked to have heard those same voices singing the openings of the choruses that Mozart gave to the soloists as well; but there was more than enough left for them to make a rich and indelible mark upon the proceedings.

I thought the soloists were for the most part splendid, each presenting their lines with energy and fullness of tone, and bringing to their utterances a distinctive and readily-communicating character. Though a shade tremulous at the top, soprano Morag Atchison’s voice otherwise enchanted, giving a lovely, committed performance with an engaging sense of great feeling, in the first Part capturing the excitement of the heavenly host’s appearance at “And suddenly…”. Also, she didn’t sentimentalize “I know that my Redeemer liveth”, but gave strength and emphasis to the words and put across the figurations with flair and energy.

Truest-toned of the quartet was mezzo Bianca Andrew, singing as always with the greatest of elegance, even when finding (as mezzos do) the tessitura of both “O Thou that tellest” and “He was despised” simply too low in places for comfort of projection. I’ve mentioned that Mozart’s wind additions seemed to me to blunt the latter aria’s tragic impact somewhat, and, in fact, give the music a human warmth that aligns it more with the world of the Countess from “Figaro”.

I liked tenor Henry Choo’s whole-hearted “Comfort Ye”, his voice also tremulous under pressure on top, but still heroic and bright. He thoroughly enjoyed his “bonus” aria “Rejoice greatly”, and made as good a fist as most singers I’ve heard of the so-o-o awkward “Thou shalt break them”, with its terrifyingly exposed leaps. Alongside him on the platform, fellow-Australian James Clayton put across an arresting, old-style prophet-like  “Thus saith the Lord”, though I found his softer singing seemed to lose some of the voice’s presence, resembling in places a rather-too-disembodied effect.  He brought plenty of energy and bluster to “Why do the nations”, though one of his grandest numbers, “The trumpet shall sound”, was here well-and-truly scuppered by Mozart, who reduced the aria to its opening, removing both the middle section and its da capo repeat.

Very great credit is due to conductor Tecwyn Evans, who entered into and realized the spirit of Mozart’s “rejuvenation” with some insightful and in places exciting direction, getting a committed response from choir and orchestra alike. On a couple of occasions I thought his tempi too quick for words and music to properly cohere (both “O Thou that tellest”, and the soloists-led “His yoke is easy” had what felt for me like a kind of driven, “take no prisoners” aspect). But in general his direction brought out both the older composer’s music-for-the-ages essence and the younger one’s delighted creative response to that same greatness.

 

 

Wellington Youth Choir – stories for the telling

Posted on by Rosemary Collier

Wellington Youth Choir presents:
Storytime

Choral Music from The Lion King, Beauty and the Beast, The Prince of Egypt, and by Samuel Barber, Trad. (arr. Philip Wilby and Gustav Holst), Schumann, John Bratton and Jimmy Kennedy (arr. Andrew Carter), Eric Whitacre, Saint-Saëns (solo), David Williams, Anthony Hedges and the Lighthouse Family (arr. Isaac Stone)

Wellington Youth Choir, conducted by Isaac Stone

St. John’s in the City Church

Friday 24 May 2013

A varied concert of items telling stories was given by the Wellington Youth Choir, under its Acting Musical Director.  It began in great style, with ‘The Circle of Life’, from the movie The Lion King; the music by Elton John and Lebo M, with lyrics by Time Rice.  Drums and other percussion instruments plus whistling opened the piece, along with a very good male solo.  The choir had impressive control of dynamics.

Unfortunately a few singers had the heads so deeply in their music scores that perhaps the conductor could never catch their eyes.  However, I detected very few false entries; the choir was always disciplined and together.  An excellent soprano solo followed, and then Isaac Stone played the African drums in front of him – altogether, an exciting performance, with the choir providing a strong, confident and pleasing sound.

The special lighting was rather strange, plunging the back row of the choir into too much shadow.  Isaac Stone soon acknowledged that they couldn’t see the music, and so more lighting was provided, which had the added bonus that the audience could read their programmes.

Another piece from the movies, ‘Beauty and the Beast’ from the film of the same name, had Juliette Irwin as soprano soloist; the performance featured a lovely unified sound from the women, whereas the men had less of that quality, and sounded uncommitted.  However, rhythm and timing were spot on.  The men’s singing improved in the louder passages.  The quality of the harmony singing was usually fine, and in tune.

Barber arranged his Adagio for Strings for voices, as Agnus Dei, more than thirty years later; they are both extremely well-known.  This performance was rather faster than others I have heard, but proved to be a very effective and sensitive one.

The first of two arrangements of traditional songs, ‘Marianne’ and ‘I love my love’, was in six parts, but maintained good balance, attention to dynamics, and matching vowels.  Tuning and ensemble were again very fine.  Another feature of the choir was that for the most part, the singers stood very still, so there was no distraction from their concentration on getting across the mood of the songs superbly well.  The latter song was somewhat slower than I’ve heard it before, but this enabled the choir to bring out the delightful clashes of the interval of a second, and their beautiful resolution.  Difficult harmony set low in the voices appeared to present no problems.

‘The Recruit’ by Robert Schumann was new to me.  The performance was notable for outstanding attack and the absolutely unanimous movement of the words in this lively song.

Homemade refreshments in the interval were welcome, since the church was unheated – hard to take on an evening of 10deg. outside temperature.  Nevertheless, there was sizeable audience in attendance, but largely composed of family and friends, I suspect.  The only publicity I saw was on the website of the New Zealand Choral Federation.

The excerpt ‘Deliver Us’ from Stephen Schwarz’s The Prince of Egypt featured a violin solo, played with strong, euphonious tone by Vivian Stephens, accompanied by Isaac Stone on the piano.  That meant there w s no-one standing in front of the choir to bring the singers in – yet the men came in on the dot.  The women’s part was very low in the voice at the start; perhaps rather too low for young voices.  It brightened up later.

Isaac Stone said in his spoken introduction to ‘The Teddy Bears’ Picnic’ by Bratton and Kennedy, that it was a favourite of the choir – and it was soon easy to see why.  The excellent harmony arrangement by Andrew Carter was great fun, and gave plenty of scope for the singers to show their skills.

Eric Whitacre’s ‘Leonardo dreams of his flying machine’ was an extended piece, in more ways than merely length – its contemporary angular style and variety of writing would have challenged the choir.  There were awkward intervals and chords, and many difficult effects, symbolising the sounds of the dreamt-of flying machine.  It was hard to pick up most of the words, but the choir sustained the piece well.

Having a solo item gave the rest of the choir a break, but I found ‘Amour! Viens aider ma faiblesse!’ from Samson et Dalila somewhat out of place in this concert.  Natalie Williams sang, accompanied on the piano by Isaac Stone.  This was a big voice, and rich, suited to the mezzo-soprano role of Delilah.  The was sung in good French, but the movement from note to note was not always secure.  Mostly the tone was mellow and exemplary, but top notes were rather strained

Young composer David Williams, a former student of Isaac Stone’s (presumably at Tawa College, where the latter teaches) was present to hear his piece ‘As I fall’, a setting of a poem by Margery Snyder, a young American poet.  The idea of falling was realistically conveyed, and the piece was sung well, growing more and more in complexity and volume as it proceeded.  It was a skilled piece of writing.

‘Epitaph’ by Anthony Hedges was a humorous item, the words including “Where I’m going there is no eating so no washing up dishes”.  A close harmony item, it gave scope for some expressive singing from the choir.

Finally ‘High’ by the Lighthouse Family and arranged by Isaac Stone was a short item in which both men and women hummed for some passages.  It was sung with vigour, using the words well, and with great attention to rhythm

Nearly all the items were sung unaccompanied with no apparent difficulty.  This is an excellent choir.  The concert comes soon after a splendid one by the Wellington Youth Orchestra.  We have great young musicians, who deserve every encouragement.

 

Cantoris takes on The Armed Man

Posted on by Julia Wells

Cantoris Choir: The Armed Man

Karl Jenkins: The Armed Man – A Mass for Peace

Cantoris Choir, Ensemble and Karakia

Director: Brian O’Regan

St.Andrew’s on-the-Terrace, Wellington

Friday, 26th April, 2013

Cantoris are to be congratulated on a very good performance of Karl Jenkins’s The Armed Man, as is their new director, Brian O’Regan, and accompanying musicians. As soon as the first drum tattoo echoed through St Andrews, I was glad to be there. The choir made a wonderful start as well, producing a rich and full sound that filled the church. Indeed, it was the warmth and depth of the choir that most stood out for me, carrying the performance through what were occasionally rather banal words (ring out the old, ring in the new/ ring happy bells across the snow). Reading through the programme beforehand, I had wondered how they were going to pull off some of the lyrics, particularly those of the last section, ‘Better is Peace’. The performance stood as a testament to how music can elevate less than astounding words.

The second section, traditionally an islamic call to prayer, was replaced by a karakia, beautifully performed by Wairemana Campbell. The substitution worked well, making this a distinctively New Zealand performance, something that was particularly fitting the day following Anzac Day. The next section, the Kyrie, again showcased the choir’s rich sounds. This part also contained a haunting cello solo by Margaret Guldborg.

The section that was the most striking, however, was section five, the Sanctus. It began quietly, with the underlying menace of the percussion (wonderfully played by Thomas Guldborg and Hazel Leader) belying the sweetness and serenity of the choir. When they reached the Hosanna the audience was rocked by an overwhelming and climactic wall of sound. In a way this made it difficult for the choir in the Charge section, which should logically be the climax of the mass. So much sound and energy had already peaked during the Sanctus that the music struggled to gain enough for the Charge. Although they rallied in the end, for me it lacked the drama of the Sanctus.

After the Charge came the unremitting grimness of the Angry Flames and Torches. It was a relief when the Agnus Dei arrived and the piece began to move away from the horrors described in the middle sections. The choir was particularly soft and sweet during the Benedictus, which also featured some lovely work from the ensemble, although the background organ was perhaps a little overbearing. In the final section, Better is Peace, the choir captured the hope and excitement of the ending, bringing the piece to a spectacular finish.