Harmonic chorale gives concert

Press, Volume CXIV, Issue 33447, 31 January 1974, Page 16

Harmonic chorale gives concert

The Harmonic Chorale, conducted by William Hawkey, began a programme in the Cathedral yesterday afternoon with a group of madrigals by English composers. These were sung stylishly with excellent rhythmic control and careful blending of voices—although the soprano tone occasionally had strong suspicion of shrillness. The last one in the group was particularly jolly. The remainder of the programme consisted of works by living Commonwealth composers and most of them would be in line for medals for effort.

The Australian composer, Malcolm Williamson, was represented by his Symphony for Voices. In size and depth the work may not really deserve the title of a symphony, but it has five sections two of which, “Terra Australis” and “New Guinea” give it a Pacific Basin setting. Without the words being printed on the programme it is not easy to follow just what the composer fully intends, but each section of the work had distinctive atmosphere. All were interesting and some very attractive. Rhythmic energy in spiky patterns and changing block harmonies of piquant tang created a succession of pictures that were inviting. The choir sung with confidence and fine competence. Had the singers been placed a few feet more in advance of the chancel arch a lot of their work would have gained in clarity. Benjamin Britten’s Hymn to St Cecilia has very beautiful sound and was sung with smooth expertise. The choir, though with other

members, sang it here several years ago. The words were not clear then and were not now. Probably they cannot be, for much of it goes at great speed. For the sake of an audience’s close participation in a work it is as well to have the words printed. Excellent blending of tones was achieved and the expression and cohesion were of high order. Three songs of the Newfoundland Outports, arranged by Harry Somers gave very interesting and pleasing atmospheric pictures of the region. The first, “The Banks of Newfoundland” was mistily indistinct with moving vocalising suggesting swirls, and some dark harmonies conveyed hidden menace. “The Old Mayflower” was, strangely enough, jaunty, jolly, and very fast. It was not easy to follow what “She’s Like the Swallow” meant. One was left with the impression that a pleasant bird had been slandered. The pitch fluctuated at times.

The last movement on the programme—which like several other lunch-hour programmes this week was too long—was that very interesting setting by Dr Douglas Mews of a poem by James Kirkup about Hiroshima entitled “Ghosts, Fire and Water.”

The words for this were printed in the programme, and Dr Mews has set them with the trenchant and disturbing music they demand. He has used what are essentially simple means but there is tremendous punch and graunching emotion in the music. The work was most ably performed and the production did good service to the poet and to the composer. —C.F.B.