‘Music for Peace’

Press, 10 November 1983, Page 6

‘Music for Peace’

“Music for Peace,” presented by the Jubilate Singers, directed by Martin Setchel!, at the Cathedral of the Blessed Sediment, Wednesday, November' 9, US pm. Reviewed by John Farnsworth. It was a fitting' contrast to hold this concert ba the same'day as ah'American nuclear submarine sailed into Auckland Harbour. Indeed, hot only was the idea well conceived, but so was the programme with, an imagimtive combination of items. It ragged fronvthe ancients, Gdsnaldo and Byrd, to the fhddefn, in MUhand, io the firtt performance of David Haimlton’s special]/, cMnmissioned,“Li tany2” Both the Gegdaldfc tn* Byrd motets prevM} an the - adrift ; '■ (duMM

for Bach’s Cantata No. 116, '■ a piece which oscillates between a sense of confidence, expressed by the choir, and Inner turmoil from the soloists. In the event, it was a more uncomfortable piece, placing big demands on some of the soloists and coming to a curiously abrupt end. Milhaud’s “Cantata of Peace,” on the other hand, is a passionate, unaccompanied work of fluctuating , . moods which the Singers caught effortlessly with dear contrasts that were crucial to the shaping of the /piece. They also showed a . fine sense of pitch and balhnce which . in, fact, marked the whole perfor- . mance. /'After the interval the Singers did David Hamilton new "composition more than justice. ™ “Litany” , has a strong opening with, effecfiverepsated motifs * which, gnmugte gradually ? -i Ihto ■; t slMrer; more sono- ■ With a very datonality ' these ele- ... ■

ments were captured in a powerful and committed performance which was warmly received by the big audience. It was followed by two arias by Vivaldi and Handel, which Judy Bellingham soared through with an opulent sound that was echoed by the supportive C.S.O. strings, who obviously appreciated the cathderai’s resonant acoustics. The final work found Handel in exuberant mood, celebrating the long-forgot-ten Peace of Utrecht with the “Jubilate.” The choir blended well with the orchestra and tackled the intricate inner parts confidently although at times a bigger sound would have helped. The soloists — Judy Bellingham, Edith Sim, Franz Kney, and Albert Riseley — were all at ease with their relatively brief contributions..

In all, it was a fine, well handled, and tightly disciplined performance; and the idea of jfroncert theme was a welcome idea.