Harmonic Choir

Press, 21 August 1989, Page 6

Harmonic Choir

Harmonic Society Choir conducted by David Childs, in “A Programme of Nineteenth Century Music,” Christchurch Cathedral, August 19, at 8 p.m. Reviewed by Paul Goodson.

It was heartening to see the Harmonic Choir self-delivered from the contagion of Town Hall-itis which has, of late, infected several musical bodies.

How sensible in these days of economic balancing acts to estimate the anticipated turnout, and opt for the more modest seating capabilities (and presumably, costs) of the Christchurch Cathedral. One welcome spin-off of this arrangement was the greater immediacy of voices which would have sounded distinctly stranded in the Town Hall auditorium.

Another plus factor was the programming. The main work, Bruckner’s E minor Mass, has no string (and I thought, no organ) accompaniment. Turning this reduction in orchestral forces into a virtue, the other items featured a cappella singing, motets accompanied by brass-organ, some lieder, and a musical curiosity in the form of Beethoven’s “Three Equali,” scored for a quartet of trombones.

While on paper this range of items appeared incongruous, in actual performance the variety was welcome. There was, on the whole, a lugubrious quality to the choral pieces which was lightened by the Brahms songs — though these dense-textured works themselves inhabit a crepuscular zone far removed from the sublime charm of Schubert lieder. Bruckner’s E minor Mass is rare in nineteenth-century Catholic liturgical writing, being neither benumbed by the cold, clammy hand of repressionist theology, nor debauched into gaudy, triumphalist bombast. It merges Viennese symphonic styles with early Italian vocal polyphony. The result is a profound devotional work which requires great vocal dexterity to

encompass long, seamless phrases, fugal and unison passages, surging climaxes and outbursts, and spot-on tuning. There were the expected pitching problems at the start of the “Sanctus” — and indeed, in the opening “Kyrie” — and some fluffed entries in the “Gloria." The choir, too, lacks the sheer weight and profundity to plumb the depths of this noble writing. But the “Et Resurrexit” blazed forth, and the singers worked hard to maintain continuity and smoothness of texture without the “cover” of string tone. Orchestral support was erratic, though this is exposed, and sometimes ungrateful, writing. A selection of Bruckner motets including the radiantly scored “Ave Maria" prefaced the mass. It was interesting to discern in the mounting layers of sound that open “Ecce Sacerdos,” links with this composer’s magnificent “Te Deum.” The choir’s singing here, and in three motets by Kalinnikof and Rachmaninov, was expressive, and pitching remained secure. The Russian items sometimes sounded alto-shy, and the basses (understandably) didn’t possess that stentorian quality that gives these works their distinctive tonal gravity. David Griffiths, accompanied by Christine Griffiths, gave a fine account of five Brahms songs. It was a pity that the singer’s face was unlit; this fact and a certain rigidity in gesture reduced the power of these lieder to communicate.

His vocal capabilities, however, were ideally suited to the style. Brahms songs are notoriously difficult to bring off, and expressive nuances, impeccable pronunciation and sensitive phrasing resulted in some compelling performances — indeed, the best I have heard locally for a long time. Accompaniments were intent, accurate, and intelligently gauged to an acoustic that disperses piano tone. All credit to the Harmonic Society for promoting a composer — Bruckner — who is still under-rated, and for devising an ingenious to boot.