Justice done to Bach

Press, Volume CXII, Issue 32975, 22 July 1972, Page 16

Justice done to Bach

An audience which packed the Christchurch Cathedral on Thursday night heard the Christchurch Harmonic Choir and the Civic Orchestra, expertly led by Louis Yffer, in Bach’s Mass in B minor.

William Hawkey conducted. There were well-selected

soloists, continuo and obbligato players (unusually, but most justly listed in the programme); and it must be said straight away that this was a fitting performance of a work which has been described as unique in its greatness.

In the “Kyrie,” and after a slightly tentative start, the choir quickly established a fine standard — particularly after the first bass entry, which seemed to inspire everyone with confidence. Thereafter and throughout the whole work, one of the outstanding features was the high standard of intonation in the singing of music which continually presents difficulty in that respect. The long, intricate phrases were sung with an assurance based on that foundation and on another essential — good breath control. Precise choral entries, some electrifying in their effect, unified response to changes of tempo and mood; capacity to build up a tremendous climax—as in the “Sanctus” — and to express convincingly the very different spirit of other movements such as the “Et incarnatus est” and “Crucifixus” choruses: all were exemplified by these singers and accomplished with a high standard in tonal values.

Certain qualities are essential in soloists selected for such a work; and April Cantelo (soprano), Honor McKellar (contralto), Anthony Benfell (tenor) and Maurice Taylor (bass) possessed them: in brief, a trained intellectual musicianship and a technique to match. For instance, in the “Domine Deus” duet, Miss Cantelo

and Mr Benfell each sang with complete clarity of vocal line, unanimity in phrasing, and recognition of the need for tonal balance. The same could be said of Miss Cantele’s duet with Miss McKellar (“Et in unum Dominum”) and of the “Christe eleison” movement.

Miss McKellar’s singing of the “Laudamus te,” “Qui Sedes” and “Agnus Dei” arias was exemplary. Mr Benfell and Mr Taylor, for example in “Benedictus qui venit” and “Quoniam tu solus” respectively, matched the same standard.

The obbligato solo instruments required by Bach in the accompaniments of various arias and a duet were played by Louis Yffer, Trevor Hutton, lan Harris, John Rimmer and Ross McKeich with professional skill. The continuo players—Don Whelan (organ), Frances de Goldi (cello) and Dennis Vaughan (bass) —similarly fulfilled important duties. The orchestra did very well indeed; special mention must be made of some brilliant trumpet playing.

At the centre of it all was Mr Hawkey, the choir’s musical director, trainer and conductor, who has continued with great success the work so well begun by Mr Victor Peters. The appreciable period of silence before the long-continued applause at the end of the performance indicated the depth of the audience’s involvement and recognition not only of a very great work admirably presented but of Mr Hawkey and his colleagues who had brought the undertaking to so successful an issue.—V.G.