Choirs Sing Bach Motet With Thrilling Effect

Press, Volume CIII, Issue 30560, 1 October 1964, Page 18

Choirs Sing Bach Motet With Thrilling Effect

The Christchurch Harmonic Society began its programme last evening in the Civic Theatre with Bach’s great motet, “Sing Ye to the Lord” — a work for double choir. It was acompanied by two harpsichords, played by Miss Nan Anderson and Dr. Michael Toovey, and with ’cellos and a double bass. The playing of the continuo was very well done indeed. This wonderful and most complicated work nerformed. under Mr W. R. Itawkey’s direction, with marked efficiency and with thrilling effect The two choirs were well balanced in volume and in effective tonal contrast and gave clarity of line even in the hectic eight-part contrapuntal writing in the first section of the work and in the grand fugal ending. Bright, well-supported, and forwardlyproduced tone from the singers helped in keeping clarity of delineation, and musicianly skill in moulding the phrasing kept the texture of the sound smooth without losing any dramatic intensity. The middle section of the work was sung with very appealing use of rich but softer tones, merging together in fine ensemble with firm and mellow timbres. Variety of expression throughout the work made it all come fully to life with moving sincerity. The hard work given to preparation earned its reward in the highly praiseworthy performance.

Of great interest on this programme was a new work by Professor John Ritchie It was specially commissioned by the Harmonic Society for this concert, and should make a valuable addition to the society’s repertoire. Preparation by the choir has been efficiently done, and this was shown not only in the smooth

technique but in the singers’ understanding also. The work is based upon three poems, in honour of the Blessed Sacrament, by Richard Crashaw. Professor Ritchie has captured in his music not only the heightened devotion but 'also the beauty and, above all, the essential taut economy of language used by the poet in expressing his mystical ideas. The work was accompanied by brass, tympani, horns, and woodwind without flutes. It was interesting to note that Professor Ritchie’s scoring for this medium seemed much more effective than Bruckner’s scoring for the same instruments later in the evening.

The drama of the work was brought out in the accompaniment just as much as it was in the choral writing. There are lyrical flights of fancy from the woodwind instruments answered by strong affirmation by the brass section. suggesting the poetical mysticism of the individual ideas, controlled, cemented, and founded, too, upon the firm basis of revealed and defined dogma Both of these elements are always present in the music as they are in the poems, and a very satisfactory welding of words and music has resulted.

The choir sang with vivid expression and dramatic fire in the strong first section, and the unaccompanied singing in the last section had lyrical tone of great beauty and artistic sensibility. Mrs Anita Ritchie sang the second part of the work with beautifully clear tone, warmly rounded in artistic phrasing, and with full understanding of the meaning underlying the cryptic nature of the words. There was strong confident® as well

as beauty in her performance, and it was very interesting to hear music sung by an artist whose abilities were well known to the composer when he was writing it. This work made immediate impression, but a fuller understanding of it can only come with further hearings, and it is to be hoped that these opportunities will be given us. The performance was conducted by Professor Ritchie.

The rest of the programme contained three motets and the Mass in E minor by Bruckner. An “Ave Maria” had gentle appeal cleverly brought out by the choir in its expressive blending of its contrapuntal lines. “Afferentur Regi Virgines” was a colourful work demanding, and getting, imaginative rendering. An “Ecce Sacerdos,” seemingly rather long for practical use, did not so securely hold attention and gave the impression of being somewhat forced at a first hearing. The Mass in E minor leaves rather mixed impressions. For the most part, except for some loss of pitch in places, it was well sung by the choir. The gentle sounds of the Kyrie, the fresh and vivid opening of the Gloria, the soft and idyllic singing in the “Qui Tollis,” clarity in the tense and powerful “Amen,” were all very well brought out in the earlv part of the work. In the Credo there was a beautiful sense of peace and mystery in the “Et Incarnatus” and dramatic fire in the “Et Resurrect.” The opening of the Sanctus was very interesting indeed, but the work generally declined in interest after this. The accompaniment scored for the same instruments as the Ritchie work, was marred by a good deal of faulty intonation, and the scoring frequently sounded heavy and rather dull. —C.F.B.