Berberis' World

Saturday, 5th December 2009, Royal Festival Hall.

“Arthur Honegger’s ‘Christmas Cantata‘ is the jewel in this composer’s catalogue. Written at the very end of his life, it is a profound work, setting words from the Bible and various carols. Starting quietly and building in intensity until Honegger unleashes huge cries de monde this is tortured stuff but passionate and deeply felt. The work ends with a glorious chorus concluding with a large Amen and the organ returns with the music of the opening. Tonight we heard a performance of such intensity that one could well believe that all involved were so deeply caught up in the performance that they were left as breathless as the audience. It brought a superb ending… the best solo singing came from Ruxandra Donose and Andrew Staples, both of whom displayed a lovely sense of line, using vibrato as it should be used, as  an expressive devise (sic). [The London Philharmonic] Choir and Children’s Choir both gave excellent performances…”

Bob Briggs, Musicweb International.

“This concert brought many delights and surprises as well as consistently fine performances. […] Mendelssohn’s setting [of ‘Vom Himmel Hoch’] made a jubilant and lyrical opening to this refreshing collection of works. ‘The First Nowell‘ was Vaughan Williams’s final music and, indeed, he passed away before finishing it, leaving Roy Douglas (due to turn 102 a week after this concert) to complete the work… particularly lovely in ‘On Christmas night…’ the crowning glory being ‘The First Nowell’ itself. [‘Christen, atzet diesen Tag’] by Johann Sebastian Bach proved sublime, springy and exhilarating.

Honegger’s ‘A Christmas Cantata‘ (from the end of his life, he died in 1955), for baritone, chorus, children’s choir and an orchestra of strings, winds and brass with organ… but no percussion, begins in the depths, the emerging ostinato reminding of the finale of his Symphonie liturgique (Symphony No.3), the children’s choir offering contrasting radiance and innocence. The change to optimism is magically achieved, the music dancing, lullabying, and reaching ecstasy and rapt transfiguration, ending quietly. It’s a great piece and was done proud here.”

Colin Anderson, The Classical Source.

Blimey, but this was LOUD. You know when people say they can’t hear themselves speak? Well, when the organ kicked in at the end of the Honegger we couldn’t hear ourselves sing, even though there were 150 of us and we were at full volume. It was almost pot luck as to what note you were singing unless you stuck a finger in your ear, which not only looks ridiculous but could result in the loss of the score if your folder was the type to fold right back on itself. Current models are designed with two strategically positioned straps: one to allow it to open so far and no further; the other to allow it to be held in one hand, weight of score permitting.

I was unimpressed with the Honegger to start with. Even now I can’t say I would rush to sing it again, but I’m glad I did the concert. The other pieces were less enjoyable, perhaps because I’d not done as much homework as I normally do; it’s easy to assume that smaller and/or more familiar works don’t require the extra-curricular attention but these did, and I know that this lack of attention to detail showed in my performance.

‘The First Nowell’ took on a darker dimension than its somewhat fluffy content betrayed when Vladimir pointed out the very bar at which Vaughan Williams died. After this, every time I sang it, I had a lump in my throat. The dreaded unaccompanied sop1/sop2/alt section, for all its problems in rehearsal, actually went very well after some last-minute cramming (and I do mean last minute… as in during the solo beforehand).

Mendelssohn’s ‘Vom Himmel Hoch’ is gorgeous when sung properly, with some wonderful crunches. However, it is one of those pieces that is best sung (dare I say it?) by a church choir, with boy trebles singing the soprano line. Then it shimmers, not unlike Whitacre’s ‘Lux Arumque’.

Bach’s ‘Christen atzet diesen Tag’ I didn’t like quite as much, even when sung by a professional choir. It has a soprano/boy soprano+bass duet which not only goes on twice as long as it ought to, but causes aural discomfort akin to listening to someone scraping their fingernails deliberately, tortuously slowly down a blackboard. Not one of his best.

So, all in all, a bit patchy, but ending on a exceedingly low note. If you’ve heard the Honegger, you’ll understand what I mean.