Into the Light
Church of St George & St John
Saturday, August 30, Sunday, August 31

Review by Friederike André, BMus

The Edgecumbe Choir’s offering in this concert was of very contemporary music – Bob Chilcott’s Requiem being only about 15 years old, while Morten Lauridsen’s Lux Aeterna was composed in 1997. Those who braved the elements on this rather glum weekend to listen to some uplifting music were not disappointed.

The first half of the programme consisted of Chilcott’s Requiem, set to the Latin Mass text, but leaving out anything threatening or dark: no Libera Me, no Dies Irae, and therefore no threat of hell, just rest and peace.

In place of the cut Latin text, the prayer “Thou knowest, Lord” from the Common Book of Prayer was inserted after the Agnus Dei.

In this setting, made famous by Henry Purcell, Chilcott also used a technique of Purcell’s as a nod to his forebear – the movement is set above a recurring four bar bass line.

The music was originally scored for several instruments: horn, flute, oboe, clarinet, timpani, and organ; but as accomplished organist David Burchell was engaged to play, these were not missed at all.

The vocal parts are shared between choir and two soloists: both English tenor Iain Tetley with his lyric voice and soprano Regan McFarlane whose pure tone projected well throughout, sounded delightful.

The soloists were in dialogue with the choir and with each other, as well as having aria like parts all to themselves. This variety meant a rich tapestry of sound, as the solo voices seemed to grow out of the choral sound, enriching and embellishing it.

As in Fauré’s Requiem, the Pie Jesu was given to the soprano soloist, a lovely reflective setting which suited McFarlane well.

Chilcott followed this with a rhythmic, jazz-like and quite happy sounding Sanctus, delivering a lovely contrast.

The choir certainly rose to the occasion, delivering accurate dynamics and diction throughout.

A highlight came in the English prayer: an a cappella chord built by descending cascades to the words “to fall”, beginning with the sopranos and moving through the sections – a very effective although probably daunting moment, chorally speaking.

In the closing bars the soprano soloist had the last word – with an ascending major scale this was a decidedly uplifting end to the Requiem.

After the interval it was Lauridsen’s turn. A very challenging work with lots of dissonances that are hard to maintain, as often several sections have to sing just a second apart – although they are resolved in due course.

Again, the delivery of the choir was certain, well balanced and accurate.

In the final Alleluias even the sun came out, bathing both choir and audience in heavenly light – seemingly approving of this concert, by underlining its title.

Chalium Poppy was as always very lively at the conductor’s desk, with large and passionate gestures; at times he seemed to want more volume from his singers than their limited number were able to give him – 24 only.

Hopefully they may attract more singers, the quality of their delivery certainly should make joining them an interesting project.

They are sure to welcome new singers with open arms.

The appreciation the audience felt was shown by standing ovations, a well-deserved recognition of the efforts this community choir had made for their patrons.