‘King David’

Press, 20 July 1987, Page 8

‘King David’

Honegger’s “King David,” by the Royal Christchurch Musical Society and the Christchurch Symphony Orchestra, conducted by Robert Field-Dodgson, Town Hall Auditorium, Saturday, July 18, at 8.15 p.m. Reviewed by Roger Flury. Honneger’s “King David” began life as incidental music for a five-act play, and was scored for a small group of instrui ments. When the com- *• poser reorganised the * music in 1923 for full orchestra, he used the device of a narrator to replace the dialogue, and link the work together. The resulting symphonic psalm is a patchwork of short scenes, fanfares, marches, choruses and songs dealing with the life and death of David. The composer’s imagination was fired by the dramatic situations of the colourful story, and he supplied, in effect, film music of a high quality. Drawing on musical styles as diverse as Bach and the Folies Bergeres, Honneger forges them into a unified whole by the sheer force of his »t, in spite of the fact» the use of spokeqF

narration works seriously against such musical unity. This is no reflection on Stuart Devenie’s delivery of the text, which was admirably clear, fluent, and free of overt theatricality. The other spoken contribution came from Elizabeth Moody as the Witch of Endor. Her amplified incantation boomed around the auditorium in a suitably hairraising fashion, made all the more efffective by Honegger’s exciting orchestration. The vocal soloists have relatively little to do in this work, and the fact that they are not allocated specific roles confuses the story a little. Judy Bellingham, in splendid voice, sang the mezzo and soprano solo parts, showing that her voice can easily encompass both. There was a slight feeling of unease with the highest-lying passages of the Angel’s message, but otherwise hers was a most impressive performance. Anthony Benfell gave, as always, a polished and committed reading of his rather ungrateful part. His voice sounded as warm and generous as ever. Under Robert Field-

Dodgson’s persuasive advocacy, the choir, and orchestra entered into the spirit of the occasion. There were a few tentative choral entries, and some patches of flat singing, but the various moods, from lamentation to celebration, were well captured and the final chorale was beautifully done. In the original orchestration, the string section was represented by a lone double bass. Even in the concert version, the string section takes a back seat, and the spotlight falls on the woodwind, brass and percussion. These are the strongest sections of the Christchurch Symphony Orchestra, and they relished the opportunities that Honegger gives them. I hope the poor attendance will not discourage the choir from introducing more unusual repertoire in the future. A diet of “Messiah” and “St Matthew Passion” may be healthy for the bank balance but it can deaden the taste buds. With Verdi’s wonderful score of “Macbeth” due for an airing later this year, let us hope that the choir, and Verdujeceive the support they jpserve.