Jubilate singers in fine voice at concert

Press, 6 August 1980, Page 9

Jubilate singers in fine voice at concert

By DAVID CHILDS The Jubilate Singers were in fine. voice for their concert on Sunday in the Cathedral of ’ the Blessed Sacrament with the organist; G.-aham Hollobon. ■ . • ’ • The choir began impressively with three motets by Lassus. Responding sensitively to Martin Setchell’s firm but sympathetic direction, the choir gave an excellent account of these three works, cleverly projecting the distinctive character of each. Most effective was the lovely “Benedic Anima Mea Domino,” in which the contrapuntal lines unfolded,with unhurried simplicity, enabling the singers to shape the phrases with the utmost sensitivity. The parts . were not as well matched at the outset as they might have been. For a time the basses tended to obtrude and it was not until halfway through the second motet that an ideal balance was obtained. However, this did little to detract from the stylishness of the perform-, ances.’ It was good to have the opportunity to hear two motets by . Brahms, “Warum Ich Das, Licht Gegeben” and “Mit Fried und. Freud Ich Fahr Dahin.” These are splendid works ■■ in which the eighteenth - century - style

counterpoint is imbued with a romantic sensuousness and warmth that is recognisably Brahmsian. Both motets are fraught with technical difficulties . that call for musicianship of a high order. The singers negotiated these with Comparative ease to produce some of the finest singing we have heard from the choir. Tin tone was bright and clear throughout and intonation secure, but what impressed most was the expressiveness of line that Mr Setchell was able to draw from his singers. From the opening explosive “Warum” of the first motet in its serene chorale version of the Nunc Dimittis, the choir skilfully projected a wide range of mood, giving evidence of careful training and rehearsal. Two chorale preludes by Bach and Walcha, artistically played by Graham Hollobon, did not add much musical substance to the programme but enabled the choir to enjoy a well earned rest. Mulct’s brilliant “Carillon-Sortie” made an effective end to the first hhlf. The splendid performance of Kodaly’s Missa Brevis that made up the second half left one wondering why such a fine ■work is not heard more often. Stylistically the Mass, as the programme

note informed us, 'suggested not so much Kodaly the nationalist as Kodaly the cosmopolitan in its mastery of a wide variety of choral tvles.

The choir made good use of the cathedral’s fine acoustics, displaying commendable rhythmic control and adapting effortlessly to the work’s constantly changing moods and textures. The tone was fresh and clear, marred only by an occasional forcing oY the tone by the sopranos on the very high notes.

The soloists — Jillian Bartram, Adrienne Simmonds, Judy Bellingham, Franze Kney, and Martin Thomas — detached themselves- from the choir to good effect whenever the music demanded it.

Mr Setchell shaped the music sensitively and intelligently. He was ablysupported by Graham Hollobon, whose masterly playing of the organ part contributed much to the success of the performance.