This programme of music by composers all of whose names begin with B, provided not only a broad base of big names, but a balance of musical styles bridging almost 300 years.
Bach first – the great man deserves pride of place: Marcus Sealy’s opening Sinfonia breathed joyous life around the Abbey. It sounded really authentic on the Klais organ and Marcus showed us his mastery, both of the instrument and the music. It was the ideal curtain raiser. We had two of the great Bach choral works: Jesu, meine Freude and Lobet den Herrn, both accompanied on a chamber organ, rather than the Klais, an interesting decision. In their different ways, they make substantial demands on the singers, particularly the high soprano line, and after a slightly tentative opening, the singers were soon into their stride, handling the big choruses with confidence and style. I particularly enjoyed Lobet den Herrn which closed the concert with a splendid outburst of exhilaration, full of light and shade, with a lovely breadth of sound. Just as Bach would have wanted.
We heard four Bruckner motets, Inveni David, for men’s voices, and Ecce Sacerdos, in which the singers were joined by four young trombonists from Wells Cathedral School, a most effective, rich combination, which came off very well indeed. The other two Tota pulchra es and the gorgeous Ave Maria found the choir in excellent form, with some beautiful pianissimo singing. The trombonists also played Beethoven’s Equale with accomplished poise, a performance of maturity and musicality – promise of great things to come.
Marcus Sealy gave us another treat on the Klais organ, Bonnet’s Variations, a bravura piece full of big sounds, with a tremendous climax: and by complete contrast, a quietly reflective Frank Bridge Adagio, full of interesting harmonic ideas, both played with immaculate control and understanding.
The choir also took on Britten’s Rejoice in the Lamb, one of his smaller scale masterpieces, with words by Christopher Smart which are utterly compelling, brought to life by Britten with subtle genius. The changes of tempo and key are vocally quite challenging, but wonderfully demonstrative, and the choir gave a very good account of it, bold and beatific in turn. The soloists from the choir sang well and the whole tenor section solo, The Flowers, was especially poignant.
It was an ambitious evening’s music, with a lot of work for the choir. They acquitted themselves with distinction under Nigel Perrin’s ebullient direction, with the ever-present Marcus Sealy giving his usual flawless accompaniment.
©Bath Chronicle (Peter Lloyd Williams)
