17th November 2018. Vivaldi Gloria, Allegri Miserere, Astorga Stabat Mater, Pergolesi Magnificat, Corelli Trumpet Sonata in D
The opening Magnificat, generally attributed to Pergolesi but now known to have been composed by Francesco Durante, provided a rousing start to the evening. The piece contains a pleasing mix of solos, duets and chorus numbers, which showed the choir at their spirited best and also introduced some of the young soloists who were to prove such a treat. The duet sung by tenor (Kieran White) and bass (Rupert Reid), for example, was beautifully phrased and their clarity of tone and accuracy of pitching exemplified the standard of the solo singing throughout the evening. The balance between choir and orchestra was well judged and the raising of the gentlemen to the higher seats behind the ladies possibly helped to project their lines effectively, despite their smaller numbers. The contrapuntal entries in the final chorus were confident and provided a fitting climax to the final Amen.
The colourful life of the unfamiliar composer Baron d’Astorga was explored in the excellent programme notes provided by conductor, Tim Donaldson. A contemporary of Bach and Handel, his Stabat Mater was one of the most frequently performed pieces of the 18th century before it fell out of fashion. Its resurrection is long overdue and the sinuous melodic lines and expressive chromatic writing effectively convey the torment of Mary expressed in the text. Such chromatic writing needs great clarity and accuracy of pitching and it took the choir a little while to settle comfortably into the opening movement. Their singing soon became more confident with some well-projected contrapuntal entries in the Eja Mater and more accurate intonation in this less chromatic movement. Five of the nine movements featured the soloists in various combinations, all of which were delivered with superbly sensitive musicianship - it would be hard to find fault with any of them. The final choral movement resists the usual temptation to end with a loud Amen and the choir displayed good control as it brought the work to its fitting peaceful conclusion with a warm, well-balanced and well-controlled final cadence.
Part Two began with the Miserere by Allegri. The soloists sang from the side chapel, giving an interesting spaciousness to the performance. Simple sounding music often takes great skill to deliver and singing plainsong with large numbers of singers is always risky. This was not the choir’s finest few minutes (!) and there were intonation issues in what was effectively unaccompanied singing, but they are to be congratulated for tackling a work that clearly took them out of their comfort zone. The piece is always worth hearing, the quartet of soloists was excellent and the glorious ‘top Cs’ were impeccably delivered by soprano, Emilia Morton.
The purely instrumental Sonata for trumpet and strings by Corelli ,was skilfully played by David Bertie. Not the most exciting of pieces, this was a sequence of 5 short movements, but it nevertheless left one wanting to hear more of his seemingly effortless technique and bright Baroque sound.
Vivaldi’s well-known Gloria provided an effective conclusion to this varied programme. The choir relaxed into this more familiar territory and really sang well throughout.Their energetic singing in the opening movement, was followed by well-sustained chromatic lines in the Et in Terra Pax. The familiar Laudamus Te was superbly sung by sopranos Emilia Morton and Ruth Provost and the latter provided perhaps the most serene moments of the evening in the Dominus Deus, complemented by a beautiful oboe solo (Laura Manning). The alto soloist (Bethany Horak-Hallett) was particularly impressive in this piece, her rich tone, beautiful phrasing and an effortless sounding technique allowing one to simply sit backand enjoy the music.
There was great variety within this programme of Baroque music. Familiar music is often more difficult to perform than the listener might imagine and the choir is to be congratulated for their performance overall. There was some lovely individual playing from the orchestra, which was always supportive of the singers, and the soloists were a real treat.
The audience quite rightly rewarded all performers with generous and prolonged applause.
"Challenges Well Met"
It was gratifying to see a full house for this concert by the South Somerset Choral Society in St. Mary’s, Chard – the threat of more wintry weather was no deterrent. The programme picked by musical director Tim Donaldson was a demanding one, but he and SSCS rose to the occasion, supported by two very fine soloists. A small but skilful orchestra was led by Jane Margeson.
First we heard Vaughan Williams’ setting of poetry by George Herbert – the ‘Five Mystical Songs’ of 1911. This gave baritone soloist Jake Muffett his chance to establish his credentials, and he did so straight away. His phrasing was elegant and assured and his diction exemplary – he did take a few minutes to even out his sound quality across the lower and upper registers, but his singing was always expressive. I was particularly struck by the way he contrasted “Love” (God) and “Guest” (Mankind) in the third song – his control of the timbres was lovely, as was his handling of dynamic contrasts in the fourth.
Harold W. Mead