Reviews
Spring Concert 2008
Bernstein 'Chichester Psalms'
Allegri 'Miserere'
Jenkins 'The Armed Man'
Photo by Simon Ames
BCS, an illustrious concert trendsetter, chose for their March event an intriguing balance of old and new music.
Bernstein's Chichester Psalms were composed for the 1965 Southern Cathedrals Festival. Young Adam Vidler sang the treble part of Psalm 23 in the Hebrew text with high confidence, the choir capturing the vivid settings of the remainder with effective support from organist Oliver King and harp accompaniment.
Next, to Allegri's ethereal masterpiece Misere mei Deus, written for the 17th century choir of the Sistine Chapel. This performance was clearly well rehearsed and benefited from Andrew Phillips' fine interpretation.
The main work of the evening was The Armed Man: A Mass for Peace by the Welsh composer Karl Jenkins, commissioned to mark the passing of ‘the most war-torn and destructive century in human history.' Conductor Andrew Phillips followed the composer's concept with an ensemble of nine musicians; organ, piano, two trumpets, flute and cello blending well with three percussion and the power of the choir. The result was masterful.
The opening march-like L'Homme Armé reflects the tramping of military men. The gentle and lifting Kyrie contrasted well, then the dynamism of the Hymn before Action based on Rudyard Kipling's thunderous words bringing a resounding performance from the choir. The exuberance of the trumpet fanfare that heralded Charge! was perfect, the choir making the best of John Dryden's dramatic poetry. The thought-provoking Angry Flames featured the poem of Togi Sankichi who witnessed the effect of the Hiroshima A-bomb. Other memorable sections were the prayer-like Agnus Dei with its lilting organ introduction, the tender and flowing Benedictus that heals the wounds of survivors of war, and Tennyson's Ring out the Thousand Wars of Old, a rousing choral finale that saw the choir at their best.
Musicians and choir captured the colour and drama of this high quality modern work. Oliver King, regular organist at Wellington College and the Chameleon Arts Orchestra Under Andrew Phillips' precise direction complemented an outstanding performance from a well-trained choir.
Reviewed by Simon Ames
December Concert 2007
Bach Mass in B Minor
There can be no doubt that Bach’s Mass in B minor presents a huge challenge to any choir or choral society. It is a colossal compendium of choruses and arias which demand great understanding of style and considerable vocal and instrumental technique. It is a musical Mount Everest. In their recent performance in St Martin’s Church, Dorking, the Brockham Choral Society, under the calm and authoritative direction of Andrew Phillips only partly met these challenges. There were a number of instances of faulty intonation, insecurity of ensemble, and uncertain entries. Despite these problems it was clear that the choir had worked extremely hard in rehearsal. The great homophonic choruses of the Sanctus and Hosanna were solidly performed with weight and grandeur. The opening chorus of the Gloria had pace and verve and the concluding Dona Nobis Pacem had finely graded dynamics providing a majestic conclusion. The choir were ably supported in the solo arias by the team of soloists, Hannah Bradbury, Catherine Hopper, Matthew Venner, Joseph Timmons and Simon Whitely. The musicians of the Senesino Players provided skilful and sensitive accompaniments and continuo. The three trumpet players were outstanding.
Summer Concert May 2007
An Evening at the Opera
The Brockham Choral Society (BCS) turned its erudite attention briefly away from their regular performances of sacred and secular music to bring a concert devoted mainly to well-known opera choruses. They also added a most welcome dimension to the occasion by inviting the award-winning Belgian choir Cantabile Ghent to share the evening, bringing with them their own special selection of harmonies in the cappella style.
Introduced by Gill Jarvis, Brockham Choral launched the evening’s programme with a fine rendering of Donizetti’s Chorus of Wedding Guests from his opera Lucia di Lammermoor. Fred Prego sang the tenor solo with dash.
The choir did full justice to Dido’s Lament and the final chorus from Henry Purcell’s only opera Dido & Aeneas written in 1684.
After the warm-up period, they moved up to the more ambitious Soldiers’ Chorus from Verdi’s opera Il Trovatore delivered with a driving enthusiasm under their new conductor Barnaby Smith.
Cantabile Ghent are tutored by Jan Vuye one of Belgium’s best known organists and music directors. He has honed the skills of his 30-strong choir at a high level, as was evident from their introductory sequence of Five English Folk Songs composed by Ralph Vaughan Williams, sung unaccompanied with commendable sharpness. The selection included The Dark-eyed Sailor, The Lover’s Ghost and The Wassail Song. Jan Vuye switched from rostrum to piano for a further cycle of Four Songs for Sailors by the 20th century composer Sir George Dyson delivered with fine diction and admirable technical skill.
The busy programme brought BCS to the stage again for The Bell Chorus from Pagliacci by Leoncavallo, then Barnaby Smith left the rostrum to become a solo singer, demonstrating his fine counter-tenor style with Dove Sei from Handel’s Rosalinda for which Louise Hughes added a serene solo violin to complement Marion Lea’s piano accompaniment.
A highlight of the first half was Anne MitcheIl, superbly dressed for the part, singing the mezzo-soprano Habanera from George Bizet’s well-known opera Carmen with powerful support from Brockham Choral.
After the interval, Cantabile Ghent returned with a series of delightful songs in French by Debussy and Ravel, then a further selection with Brockham Choral that brought The Chorus of Enchanted lslanders from Handel’s Alcina, a majestic delivery of the Priests’ Chorus from The Magic Flute by Mozart, another counter-tenor performance by Barnaby Smith of Handel’s Where’er you Walk from Semele, concluding with a most convincing performance of The Chorus of the Hebrew Slaves from Verdi’s opera Nabucco. BCS delivered all the crescendos and powerful innuendos of this famous chorus. It was received with acclaim.
For the joyful finale, Brockham Choral joined with Cantabile Ghent to produce a remarkably well-rounded performance of Richard Genee’s Italian Salad, described as ‘a musical jest in the form of the Finale to an Italian opera’. Between them, they effectively mastered the fast-moving harmonies and clever Italian script under Barnaby Smith’s baton. It was received by the audience with extended applause – great credit to both choirs as joint rehearsal for this clever set piece had been naturally limited.
The popularity of this music drew a larger audience than usual and there may be a pointer here. The contribution of Cantabile Ghent under their accomplished director Jan Vuye was a notable feature. Accompanist Marion Lea at the piano was a class act all of its own and Louise Hughes impressed with the violin. Barnaby Smith is energetic, knowledgeable and enterprising and it was a wise choice to appoint him as BCS director.
Reviewed by Simon Ames
Spring Concert March 2007
The outlook is changing at Brockham Choral Society. Their springtime concert saw the introduction of their youthful new conductor, 23-year old Barnaby Smith who began his career in music as a chorister at Westminster Abbey. In a rapidly developing career, he has established himself as a conductor, notably with the award-winning Voces Cantabilis, also as a choral and concert soloist and operatic performer. Barnaby brings the Senesino Players to provide the orchestra, a group of young musicians who have recently graduated in the profession. I predict some exciting BCS concerts ahead under the new arrangements.
The concert opened with an orchestral composition by Handel, the Concerto Grosso in G major, Opus 3, No 3. The baroque sound from Senesino was pure delight, bringing this invigorating piece to life in a splendid way. Opus 3 includes music that Handel had used for earlier clavier works, the oboe playing a dominant role. It was a regal opener.
The music of Henry Purcell, a 17th century English composer of a decade or two earlier than Handel, introduced the young soloists for the evening. For the anthem Rejoice in the Lord Alway, Matthew Venner sang the alto part, Charles MacDougall as tenor and Dingle Yandell, bass. The anthem benefits from a simple but strident harmonic structure, delivered skilfully by soloists, choir and Senesino with superb baroque sound.
More from Purcell followed, an Ode for a Royal birthday called Come Ye Sons of Art. Two sopranos joined the concert platform, Catherine Backhouse and Susannah Vango, both with impressive career CVs. After a striking Introduction, the piece comprises seven separate sections for soloists and choir supported by the baroque sound. This was baroque at its best. Rupert Gough at the harpsichord made a fine impact for this 300-year-old composition for a ceremonial occasion.
The main work of the evening was Handel’s Dixit Dominus, a regular favourite with many choral societies. It was written in 1707 when the composer was only 21 and working In Rome. The work has exuberance, a sustaining splendour that was superbly captured by the soloists and choir. Though slightly down on numbers through seasonal colds and flu, the 60-strong choir proved to be well rehearsed with firm choral entries and quality power when called up.
Barnaby Smith has made a very bright start with BCS. At the rostrum, he demonstrates a mature style, plenty of body language to direct his singers who clearly are very happy to be tutored by him and to have the musical accompaniment of the young and highly professional Senesino Players.
Reviewed by Simon Ames
Christmas Concert 2006
St Martin’s Church, Dorking: 9th December
A concert devoted principally to the choral works of Mozart and Schubert, a farewell occasion for Christopher Dawe after nine highly successful years as the Society's Musical Director and Conductor.
The full programme began with Henry Purcell's Chaconne in G Minor for strings, one of this English composer's most celebrated works. Guildford Oriana orchestra gave a sparkling performance of this unusual work in which the ground bass is a five-bar theme repeated no less than 44 times.
Soprano soloist Rachel Nicholls brought out the best of the awe-inspiring music of Mozart in Laudate Dominum, the setting of Psalm 116 from the Vesperae Solennes de Confessore, K329. Rachel recently won the Most Outstanding Student of the Year prize at the Royal College of Music and it was a delight that she was present to sing with the BCS.
Franz Schubert's Mass in G Major followed, written when the composer was just 18 years old in 1815. Rachel was joined by tenor Hugh Hetherington and baritone Roderick Earle, both top flight performers, for this relatively restrained work that is more secular than religious. The choir delivered a fine, pure sound for the opening Kyrie and the Gloria that followed, continuing with vigour to the closing, memorable Agnus Dei with its chromatic harmonies that provide the base of the poignant soprano solo part, sung superbly by Rachel. The work was an excellent choice and the choir delivered a well prepared performance.
After the interval, the main work of the evening was Mozart's Requiem in D Minor (K626) bringing the three soloists back to the platform, now joined by Serena Kay, mezzo-soprano. Mozart wrote Requiem shortly before his death in December 1791. At the time he was racked with pain, yet he worked with a passion and intensity that is strongly reflected in the work.
After the subdued Kyrie with a fine solo section from Rachel, the choir produced a controlled and powerful Dies Irae. The brass introduction to the Tuba Mirum, was poignant, leading into an eloquent sequence with the four soloists. The choir navigated superbly through Rex Tremendae to the serene and flowing Recordare and towards the stately Sanctus. Together with the orchestra and the top flight soloists, this was the Society's choir at their very best.
BCS Chairman Reuben Suckling closed the evening with an appreciation of the progressive role that Christopher Dawe had played over 9 years in the Society's musical life and for their enjoyment of singing good music to a high standard.
Review & Photo by Simon Ames
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May Concert 2006
St Martin's Church, Dorking: 20 May
Conductor Christopher Dawe's choice of Vaughan Williams and Beethoven for this early summer concert by Brockham Choral Society could be called a 'daring pairing'. But, in fact, there was a linking theme of eternal mysticism in the main works of these two revolutionaries. Beethoven's early Mass in C stresses 'the life of the world to come' while Vaughan Williams' Toward the Unknown Region is an agnostic's setting of humanist Walt Whitman's verse on 'the ties eternal, time and space.'
The sprightly Guildford Oriana Orchestra preceded the Mass with Beethoven's A Calm Sea and a Prosperous Voyage, as a warm-up cantata for the floating-yet-potent Brockham voices. They effectively expressed the opening 'single syllables' style of the cantata, and then managed the explosive link from the calm sea passage to the prosperous voyage with 'the bright sun prevailing' line.
In the Mass itself, the choir almost stole the show. After the muted Kyrie came their jubilant Gloria outburst and the presto passages for combined orchestra and choir. The Credo came over penetratively, especially in the church setting with the light of evening ebbing from stained glass. The numerical strength of sopranos ("valiant" as the conductor called them later) and mezzos meant that they tended to outsing the male voices acoustically if not musically. The whole choir is now a powerful entity; responsive, refined and not too ladylike.
All four soloists had purity of line and tone, with Alison Bishop, the soprano, shining. Amy Sedgwick gallantly stood in as the mezzo at 24 hours' notice, while Jonathan Grey and Vojtech Saralic sang tenor and baritone. Perhaps the quartet could have benefited from a little more passionate projection, but by the Benedictus they did reveal real feeling.
The orchestra opened with the summery overture, The Wasps, by Vaughan Williams, with its twin buzzing and meadowlike themes coming together nicely in counterpoint at the conclusion.
Toward the Unknown Region showed the choir in sensitive mode and mood: minor key, ethereal, timeless. The contrast came with "Then we burst forth" as a typical RVW flourish at the climax. Bertrand Russell as a young don introduced the composer to this Whitman verse at Cambridge, and they were also contemporaries there of the poet Rupert Brooke in this Edwardian era.
Altogether a programme and performance for the discerning concertgoer; with credit to the Brockham choir, the cultured Guildford Oriana Orchestra and Christopher Dawe who conducted with clarity and eclat.
Review by John Frayn Turner
