This Easter concert given by Choir and Chamber Orchestra was as usual very interesting as well as easy on the ear. It began and ended with works by Bach, Purcell and Handel but, in between, was a Mass by Schubert. This arrangement of the recital brought together the Baroque of previous centuries with the opening of the Romantic period in the nineteenth century. The listener could thus hear for himself the difference. Two fine soloists from the R.N.C.M. and the strings (with continuo) of the Chamber Orchestra gave the lead and support for the choir in a very sensitive presentation of the programme chosen, giving much pleasure and much to think about. The conductor, Donald Judge, devised the whole concert, and offered a clear and really helpful extended series of individual comment and information on each item in the programme notes for the audience to peruse; and one could do no better than to read and profit from it. Latin and Italian texts were given, with translation as well, and a brief synopsis of the setting or background was added, so that the audience was fully informed and knew exactly what they were hearing. This care for the audience was admirable.
They began with Bach’s Cantata BWV 192. Here was an account of it that showed at once the familiar character and style of Bach – the melody noble and reverent, held on a sustained breath, the soloists in good voice, and the choir giving good support, with the orchestra, in more ornamented style. There followed the farewell of Dido from Purcell’s opera Dido and Aeneas. This cry of anguish has long been held as one of the best expressive moments in all opera, and as sung by the fresh young voice of Miss Björnsdóttir, the Icelandic soprano, it was an intense moment of tragic beauty and dignity. The Mass of Schubert D167 accompanied by strings only, crossed over into the fullness of Schubert’s big lyrical heart (as Mr Judge terms it) and choir and soloists were alert to the change of period. There was nothing strained or self-conscious, no unsuitable emotional pulse: instead, there were moments of deep lyrical beauty as in the duet for the soloists in the Agnus Dei, and many moments for the choir in the Sanctus and Kyrie. Their Gloria was full of joy and their Credo had conviction.
The second half of the concert was given to Handel. The steady strength of the Baroque was a great delight for the audience. The soloists gave noble performances of Oh! had I Jubal’s lyre, Ombra mai fu and Lascia ch’io pianga, bringing back to mind the poised dignity and direct simplicity of the emotions in Handel that still appeals to the listener of today. Depth of interior emotion or rousing triumph had equal place here, and the recital ended with a splendid account of the Chandos Anthem Let God Arise. Choir and soloists were at their best and a special viola part was created for this performance. The pace was good, the playing clear and rhythmic and the choir well controlled. The balance between singers and orchestra, fully adjusted, produced an easy flow within their precision. The harmony that emerged between voices and orchestra blended into one flexible instrument. This combined with a fine tone and musical intelligence produced a poised and sensitive performance that was really good and offered everyone an uplifting experience.
JH