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Programme:
Soloists:
Press Review (by Steven Croft): The Spring Concert given by Heathfield Choral Society - Conductor Brian Newman - with the Surrey Sinfonietta was an unqualified success. The choir has achieved a consistently high standard with clear entrances and conclusions. They readily responded to their Director's awareness of the music's dynamic demands. Their tone was bright and clear, and remained so throughout the concert. This concert took place in the Kings Hall and opened with Purcell's magnificent setting of the 96th psalm. In this context Gillian Stevens, soprano, and Vivienne Durne, contralto, impressed with both tone and technique. They were well backed by choir and orchestra with organ continuo. The choir gave two unaccompanied pieces: 'Ave Maria' by Rachmaninov and 'O Magnum Mysterium' by the contemporary American composer Morten Lauridsen, notable for its sustained fervour. The Surrey Sinfonietta then performed Peter Warlock's 'Capriol Suite' a witty evocation of sixteenth century French dance music in which the strings were heard to advantage. Closing the first half of the concert, and as a suitable prelude to the 'Requiem', Choir and orchestra performed Fauré's beautiful, hymn-like 'Cantique de Jean Racine'. Appositely, the performance of Fauré's 'Requiem' was dedicated to the memory of the Queen Mother. The orchestra was augmented by Gavin Stevens on the chamber organ. The informative programme notes told us that in his long tenure of the post as choirmaster at the Madeleine, Fauré often had differences with clergy over the music: 'Their only concern was to keep the congregation happy with popular, operatic style music' (this was an attitude prevalent since the Revolution). It is a tribute to his integrity that Fauré refused to yield to such trends, and that the 'Requiem', after various vicissitudes, achieves artistic unity even if it fails fully to conform to accepted liturgy. The sombre opening, Introit and Kyrie gave way to the pleading Offertory (the rich baritone of John Allpress again prominent) and was followed by the mysterious Sanctus. The exalted lyricism of the Pie Jesu was sung with full effect by Dawn Taylor. This was followed by the Brahmsian eloquence of the Agnus Dei to which strings and horn subtly contributed. The Libera Me, after its noble introduction (baritone solo) showed Fauré at his most dramatic, well realised by Choir and Orchestra before the valedictory blessing of the In Paradisum. This concert was the first opportunity for the Choir to use its brand new staging, as supplied by Amadeus Performance Equipment Ltd. Here it is laid out ready (click on each photo for a medium-sized enlargement)...
...and the choir fitted neatly on it:
(If you're going to print an enlargement, ask the for a full resolution copy.) |
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