an informal affair which followed a day’s workshop…. created the feeling of a Victorian soiree – just the right atmosphere! (Review of Music for Passiontide, 27/3/2010)
Martin Schellenberg conducted the Shrewsbury Choral Society in a programme of music for passiontide at St. Mary’s Church. The concert was an informal affair which followed a day’s workshop based around John Stainer’s famous cantata “The Crucifixion”.
Geraald Finzi’s “Lo, the Full Final Sacrifice” opened the concert. This composer is beginning to receive the recognition his music deserves; he is of the same generation as Vaughan Williams, one of several composers who had a profound impact on English music, especially for voices, in the first half of the twentieth century. Tim Mills at the organ provided a beautiful, atmospheric opening to the work which instantly established Finzi’s distinctive sound world. His harmonies are instantly recognisable and the simple, austere opening for chorus was delivered in suitably hushed and mysterious tones by the chorus. Bass soloist James Jones was in excellent voice for a brief moment at the of the work helped by some fine ethereal singing by the altos and sopranos. The first half ended with Lotti’s “Crucifixus”, a brief but exquisite motet in eight parts movingly sung by unaccompanied choir. It was beautiful.
Stainer’s “The Crucifixion” formed the second half. Many volunteers had joined the choir throughout the day for a workshop, obviously an enjoyable event. For this melodramatic Victorian cantata bass James Jones was joined by tenor Ted Smith who heroically emerged from the choir’s ranks as the intended tenor soloist failed to appear. Mr. Smith had a real sense of the powerful drama of the music. A crisis over an accompanying instrument was averted when the organ wheezed and died! A grand piano was wheeled out, on which Tim Mills provided a remarkable accompaniment. It helped create the feeling of a Victorian soiree – just the right atmosphere!
Andrew Petch
Discussion
Comments are closed.