Choral society presents an inspired programme (June 2008)

Henley Standard Review June 2008

Submitted by Chris Norris on Sat, 27/06/2008 - 09:37

Henley Choral Society and Musical Director Will
Dawes launched an inspired programme at St
Mary’s Church on 21 June: Rutter’s Requiem,
Vaughan Williams’ In Windsor Forest and his
The Lark Ascending.
Centred on the Mass for the Dead, Rutter’s
Requiem resonated with a shocked post 9/11 US
public, receiving more performances than any
other choral work. A surprise this, since the work
does not truly pierce the soul. The exception is the
opening Requiem Aeternam, whose 12-tone harp
motif and atonal choral entry evoke death’s
anguish. Short-lived, this yields to a sumptuous
melody and texture, handled passionately in
performance by Henley Choral Society. A well
worked build-up subsided as the timpanist tapped
insistently on death’s door.
Out of the Deep began similarly with a quasiatonal
cello solo, introducing contrasts of
dissonance and simplicity. The choral melody was
accessible and the climax intense.
Soprano Kirsty Hopkins captured the sense of Pie
Jesu with a pure chorister‘s sound and judicious
use of vibrato. Sleigh bells then announced an
unexpectedly lightweight Sanctus, in which the
sopranos navigated some tricky passages before
joining in a climactic ending. In direct contrast,
the Agnus Dei’s timpani heartbeats punctuated a
dark choral line. The music’s mood fluctuated; the
choir sang well. Then followed a real gem, The
Lord is my Shepherd: delightful woodwind solos,
rich choral texture and a beautifully crafted
ending.
Repeated timpani notes introduced Lux Aeterna,
where incisive choral unison declarations
responded confidently to the soprano line. Here
Fauré-like melody merged with a discreet
orchestral backdrop. The earlier theme reappeared
and tension grew to a glorious apotheosis.
After the interval, we were treated to a flawless
rendering of Vaughan Williams’ The Lark
Ascending. Violinist Thomas Gould’s stunning
interpretation brought the audience to its feet.
In Windsor Forest, Vaughan Williams’
arrangements of his opera Sir John in Love
(Falstaff), signalled a boisterous switch to a
celebration of Shakespeare’s lighter side. Its
energetic opener, The Conspiracy, was performed
rumbustiously by solo soprano and choir,
followed by Drinking Song, whose spirit was so
full-bloodedly embraced by the male chorus that
the audience applauded spontaneously. Falstaff
and the Fairies inspired some committed choral
singing and another beautiful soprano solo. There
were ghost-like moans and a swoop down at the
end.
In Wedding Chorus a gentler spirit prevailed. The
choir wove their way stoically through harmonic
extremes. A well worked build-up descended into
calmer orchestral waters, while the solo soprano
blended discreetly into the overall texture. The
closing Epilogue expanded into a full-scale
contrapuntal episode, with prominent orchestral
part to match. Caution was abandoned as all
forces united in a tempestuous finale.
Henley Choral Society clearly appreciates the
value of creating events that attract and deliver.
Carefully selected soloists, a well prepared choir
and excellent hired orchestras (in this case the
Senesino Players), are all pulled satisfyingly
together by Will Dawes – clear proof of what can
be achieved when high professional standards are
applied to amateur music-making.

Source: Henley Standard
Date: Sun, 01/06/2008