CHRISTMAS WITH MOZART

CHRISTMAS WITH MOZART

Chelmsford Singers in Chelmsford Cathedral

18.12.11

Shaffer's envious Salieri was amazed - "It seemed to me I was hearing the voice of God," he says in "Amadeus".

I was reminded of those words as Katherine Fuge's pure soprano floated over the woodwind in the sublime Et Incarnatus Est from Mozart's Great C minor Mass. From her first appearance in the Christe, it was clear that hers was a voice at one with the composer's genius, a lambent, pure tone soaring to the ceiling – a memorable moment.

This was a magnificent performance, from the dramatic Kyrie to the complex counterpoint of the Benedictus. The other soprano, just as impressive as Katherine, was Julie Cooper, outstanding in the ornate Laudamus Te. The Singers, under the inspirational direction of Peter Nardone, were on exceptionally good form throughout, producing a powerful, expressive sound, in the majestic ending of the Gloria, for example.

The accompaniment was provided by the Suffolk-based Prometheus Orchestra, led by Pam Munks. Excellent, authentic-sounding tone, with splendid brass for the Sanctus. They were given a solo spot, too, an energetic Adagio and Fugue. And the evening began with Julie Cooper bringing a refreshing warm, open tone to Mozart's familiar Exsultate, Jubilate.

One of the best concerts I've heard this year, and a much appreciated Christmas gift from the Chelmsford Singers.

HANDEL & VIVALDI


Chelmsford Singers in Chelmsford Cathedral


13.03.10




Handel's festive anthems for the 1727 Coronation were paired with vibrant settings by his Venetian contemporary Vivaldi in an ambitious and hugely enjoyable evening of choral music.


They began with The King Shall Rejoice, sung with enthusiasm, accompanied by the sparkling strings of an unnamed but stylish orchestra. I was impressed by the long sustained phrases in the Glory, and the clarity and precision of the closing Alleluia.


Less extrovert, My Heart Is Inditing, saw the Singers spurred on by Peter Nardone expressive direction, while the best known of the four anthems, Zadok The Priest, had its drama and its dynamics carefully managed. I liked the way the repeated word “King” was allowed, almost imperceptibly, to echo and decay.


Vivaldi's brief Beatus Vir moved thrillingly, rhythmically towards its Gloria; the Magnificat was lovingly shaped, with sustained notes over a regular pulse. The more famous Gloria in D Major, featured some of the best solo singing of the evening, with sensitive accompaniment from oboe and cello, and a splendid fugal finish from the choir.


The Chelmsford Singers were directed by Peter Nardone, with and orchestra led by Kathryn Parry. The soloists were Sophie Biebuyck, Soprano, Lucy Goddard, mezzo and Daniel Chard, alto.

TRIBUTE TO PERCY GRAINGER

Chelmsford Cathedral

Choral Foundation Concert

15.09.09

The gentle Walking Tune made a theatrical introduction to the “simple, joyous” world of Percy Grainger. First, Peter Nardone unseen on the offstage piano, then Tom Wilkinson took up the tune, and narrator Kit Hesketh-Harvey strolled on in a vaguely pre-Raphaelite ensemble.

And we were off on a selective tour of Grainger's life and his work, “dished up” for four hands or two. Handel in the Strand, of course, Shepherd's Hey from his “song-seeking” period, Country Gardens, but also some less familiar, less showy works, like the Bridal Lullaby written in 1916 for the marriage of his lost love Karen Holten.

The “gaiety and exuberance” of Grainger's music was well expressed by the two musicians: Molly on the Shore, with its frenetic finale, the whistling to accompany Bonnie Doon, the Immovable Doh, with the one note in the top part played by Nardone with consummate style and a little help from Mr Hesketh-Harvey [who presumably would have included The Widow's Party March in his Percy picks].

Percy Grainger is remembered now for his “tremendous trifles”, and although he made a fortune from piano arrangements and his own performances, he remained sceptical about the “box full of hammers and strings”. But this entertaining presentation gave us a rounded picture of the man and his music – from the charming Eastern Intermezzo to the nostalgic Colonial Song, written in 1911 at outset of his composing career.

Kit and the Widow's Party March

PETER NARDONE

Lunchtime at Chelmsford Cathedral

02.05.08

Back from his "short sabbatical", the Master of the Music played a recital of Bach and the British to a large and appreciative audience.

The major work was the Toccata and Fugue in F major [BWV 540]. It was a performance of strength and clarity, the rippling sinews of the Toccata sharply defined.

After the Chorale Prelude BWV 654, Delius's slightly soporific First Cuckoo, then, with string tones replacing the pastoral woodwind, Elgar's charming Salut d'Amour, and to close, the same composer's mighty Allegro Maestoso from the opus 28 Organ Sonata.

Peter Nardone dedicated his recital to Dr Mary Berry, the musicologist and conductor, who died the day before, Ascension Day.

He recalled their last collaboration, a CD of Machaut recorded, not without difficulty, in the composer's own cathedral at Reims.