The concert given by the choir and orchestra this Christmas was a surprise. The music and carols came not from suspected composers or customary versions: instead, performers and audience faced works mainly by a composer newly-discovered, so to speak, by Donald Judge the composer-conductor of the choir. Few listeners in this country would have known any of his works, except perhaps his trios recorded in the 1990s and well-received by the ‘Gramophone’ critics. But that Bohemian composer’s choral settings were ‘found’ in South Bohemia by Mr Judge and they made a great impression on him and this led to the choral music of Dismas Zelenka (1679-1745) being performed for the first time in this country by the Bollington Festival Choir and orchestra – a coup much to their credit. The best thing for those interested in this sequence of events is to read the introduction written by Mr Judge himself in the programme notes where they will find a most interesting dissertation on the composer, the works, the pride of the local Bohemians from whom Zelenka comes and with this the author’s personal appraisal and excitement in his discovery, and an informative introduction to each work performed. The musical erudition and discernment of Mr Judge is all there. It is well worth a read.

The performance itself by choir, orchestra and solo voices was an example of how well-trained they are in adapting to anything new and challenging. Zelenka’s music is not obviously Slav, but lies well within the traditional movement of the Baroque in Dresden where he was working until the end of his life. The genius of Bach surpassed that of his friend Zelenka – but then the trouble with Bach is that many in the music world are apt to get Bach mixed up with God as the American composer Jan Swafford puts it. Even so, Zelenka has his own gifts. The ‘Gramaphone’ magazine critics were high in their praise of his trios saying that those new to his music were “in for a treat” as they found it rich in fantasy and exciting in it’s virtuosity content! Perhaps the audience can be forgiven for not finding in this first approach to choral Zelenka all that can be found in his orchestral pieces. The choir seemed tentative at first and not fully confident in meeting the ‘Miserere’, itself a sombre and chastening psalm: but the male voices provided strength and a steady footing in the changing keys and in keeping a good surety of attack in the counterpoint. As the work proceeded, choir and orchestra came into their own, integrating well with one another. The soprano solo of Olwyn Bloor came as a welcome surprise, quite unexpected at the end. She was in good voice especially in her middle register. The orchestra comprising strings, woodwind, trumpet and organ is consistently good in these concerts, and in this piece there was ample opportunity to give a very good account of themselves, the oboes especially with the woodwind. In the changing keys and pace, they were well-balanced with the choir. The settings of the ‘Salve Regina’ and the ‘Sub tuum praesidium’, two of the oldest Catholic prayers to Our Lady and still in daily use, were well sung and played, especially in the fast fugue at the end of the ‘Sub tuum’. The choir and orchestra were in full control and confidence. It was a pleasure to hear this, and the ‘Haec dies’ that followed.

Excerpts from the ‘Mass of the Holy Spirit’ was the main work that followed the interval interspersed with carols as in the first half. It began with an exciting ‘Gloria’. Here the atmosphere changed into an exultant, joyous spirit in singers and orchestra, and this good form continued. The glory of the ‘Gloria’ came in triumphant style, the whole ensemble rejoicing. There was a fine tenor solo from Steve Thorpe in full oratorio style. The finale of the concert resolved into a great ‘Amen’ from the ‘Magnificat’ as Handel himself might have written, according to Mr Judge. The carols, old and new, were unusual and a pleasure to hear and take part in.

This concert was a night for Zelenka and Mr Judge, and we had sampled two sides in Zelenka. It was a tribute to composer and his interpreter.

JH