Concerts at Christmas usually follow a pattern that is well-trodden and well-loved: but not so this time, with this concert. It was a kaleidoscope of carols and motets from differing folk cultures, composers and languages, ranging over four centuries and more, and all held together as a continuous stream of music and song inviting us to go to Bethlehem and kneel before the Holy Child and his Blessed Mother. It was a vivid, joyous and colourful presentation, full of the unexpected, and keeping the audience watchful in expectation as to what was coming next. This ingenious arrangement of connecting voices and instruments into a linked whole, with intervals of instruments alone owed its concept to the imagination and musical erudition of Donald Judge the conductor of the Festival Choir and Chamber Orchestra of the Bollington Arts Centre. His introductory talk gave the audience the context of the music in a light and welcome style. His lightness of touch and scholarship was evident throughout the performance.
And so from Spain and Portugal, across the Atlantic to North and South America, from the Basque country to the wealth of music from Sheffield and Cornwall, the choir and musicians caught the character of each with a sure and lively address. The changes of style, rhythm and emotions were all there and were a delight to hear.
It was interesting to become aware of the distinctive Spanish character crossing the ocean to South America and the Appalachians in North America, absorbing the Indian influences in both. To comment on the programme in detail would be beyond the range of this article. It was all so plentiful and rich: but certain things can be said. Both choir and instrumentalists were in excellent form. The choir showed their adaptability, their precision and their enjoyment of everything. Their approach is positive. They took a firm and competent hold of each item. Their sonorous timbre does not become flawed by lack of control. They can change from the excitement of ‘¡Ay Andar!’ to the tenderness of ‘I saw a maiden’ with seemingly effortless conviction. They know what they are about. The soloists were as pleasing as ever.
The instrumental ensemble was very attractive – seven players in all – two strings, one trumpet, percussion, bassoon, recorders and organ. To integrate these diverse instruments with the singers and the demands of the scores required a feat of full concentration and attention to the conductor without which the whole sound would have suffered. This mosaic was integrated with no cracks or scars to mar the artistic effect. The trumpet was lusty and joyous and gave a brilliance to the performance. The violin in ‘I wonder as I wander’ played a solo melody from the Appalachians, utterly wayward in tonality, that seemed not of this world. The orchestral tambourine on occasions created a soft ghostly atmosphere. Who will forget the ‘Huron Carol’ with its drums and voices, and the high flight of Olwyn Bloor’s soprano? And what pleasure it gave to hear the folk tradition of Sheffield especially in ‘We’ve been a while a-wassailing’, so cheerful and so well sung. The triumphant ending of ‘¡Ay Andar!’ with trumpet in full exciting voice brought the concert to a close with a flourish.
This programme gave the audience a shake, a musical experience not heard before. It was intriguing and absorbing from beginning to end: and the way it was performed was a tribute to all taking part. A concert of prestige.
JH