The Easter concert given by the choir and chamber orchestra presented a goodly array of works by Charpentier, Bach and Handel, and an assembly of fine voices and musicians to interpret them. Choir and soloists sand in Latin, German and English, while a dozen members of the Festival Choir orchestra, formed the chamber ensemble of strings, woodwind, timpani and a splendid trumpet as well.
The Charpentier ‘Te Deum’ was full of life, its vigour contrasted with passages of refined melody resting on an orchestral basis that moved from elegant continuo to outbursts of trumpet exuberance. The whole work emerged in an atmosphere of joy, coupled with deep feeling. The opening Prelude and first prayer were especially impressive, with brass and timpani in noble form. The choir, in good rounded voice, and the professional soloists passed with ease from the full sound of unison to the delicate solos or small groups as the score required. They all showed their understanding of how this Baroque music should be sung, since it combines French and Italian styles – the influence of the French court with all its grandeur, and that of the early Italian opera with its tender, lyrical melodies. It was well done.
From that excitement, they passed on to Bach and the Cantata number 140. This took the singers and orchestra into one of the greatest works in sacred music, or as some would have it, in all music. Many lovers of Bach think that the whole body of his Cantatas has something in it of the mystery of God. This atmosphere hovered over the performers as they took hold of the music, so that it became a moving experience for them and for the listeners. The fine duet from the soprano soloists and the singing of the tenor voices alone at a later stage gave much pleasure. It is always good to hear men singing alone. The orchestra was very good throughout. There is now an excellent adjustment between singers and instruments. Violin, woodwind and trumpet knew what they were doing and had good tone as well. And so the recitatives and arias moved forward towards the finale as Christ our Lord comes to claim the soul as his own. There was beautiful expressive reverence all round in these parts and the last chorale was majestic. This was noble singing, well-controlled and with conviction behind it all.
The second half of the recital was devoted to Handel’s ‘Messiah’. Eight episodes were chosen – and here the atmosphere changed abruptly. They sprang into the Hallelujah chorus and their account of it was quite unlike the usual, which made it interesting. With a relatively small choir and orchestra, it came across with a crisp freshness of quality and a robust clarity that was a tonic to hear. For this writer, it was a welcome change from the usual volume of sound from large choirs and orchestras. This came about from the firm control of Donald Judge, the conductor. Nothing was slurred and there was no shouting: all the notes were there. Their precision did not impede their flexibility. ‘The Trumpet shall sound’ presented a happy friendship between robust baritone and joyous trumpet: all other aria sequences from the professional singers were naturally good. The orchestra had its own excellent soloists in its violin and woodwind, leading to the final ‘Worthy is the Lamb’ and the great Amen. It was a noble account of this last chorus and the great Amen brought this Messiah to a close with impressive strength.
This was a memorable concert. The better balance of the choir and the integration between them and the orchestra is very satisfying. This is due to the musicianship of Donald Judge who directs the whole edifice each time.
JH