THE ADVERTISER
(Entertainment ar
Cathedral setting
or
THE Guildford Philharmonic
Orchestra
and
Choir were transported en
mass, with extra support,
to
Guildford
Cathedral
for a full performance of
Britten’s War Requiem.
choxr
brass.
for
the
Dead
delivery
though
a
resignation,
Spmtual
degree
in
style
of
peaceful
Britten’s
achieved
at
all
the
irony
enshrined
the end.
The music contains
| sorrow
and
most
is
in
| the poems — the persistent use,
for instance, of the harsh tri' tone (the “devil’s interval,” and
also that of the wartime air
raid sirens). Its first resolution f
of acceptance into the assertive
key of F major in the final
quiet chords of the Kyrie is
‘
a masterly touch.
Although
the
the
choir’'s
accom-
and
of
the
requiem
aeternam,
in
especially
organ-like
Domine.
( The
chamber
chords
remote
the
of
a
Both ' Alexander
positioning
Christopher
of
the
clearly audible
well-fitted
by John Forster and led by
Hugh Bean; and the Bxusthotte
Oliver’s
in
of
many
the
’more lyrical passages: But it is
hard
was
in
to
open
see
to
what
tion.
alternative
Vernon
his’ massive
task
Handley
of
dlrec-
1 must mention, however, the
“distantly ethereal effect of the
'boys’ choir, a model of refine~ment (in the suspenseful Oller~ torium inifroductieony "Ior
"
The chamber orchestra also
k
set . a fine example of discreet
escaped. The whispered strings
and cymbals of Move him into
the Sun also brought a moment
of gentle reflection.
The main soloist — the only
one who sings with full orches-
The
orchestra,
needless
to
say,
took Britten's
immensely
varied and tantalising score in
its stride, led by John Ludlow.
Its
rare
thunders
were
well
controlled by Mr. Handley and
the strings produced a sublime
instance).
!
accompaniment
to
the
tenor
and baritone voices, especially
in the quasi-cinematic effects of
" the
long. recitative
duet.
It
seemed' that out of Battle I
ascending
The
only
disappointing
chorus was perhaps
the Recordare.
The altos, in very low
register, were scarcely discernible in their entry, while the
rest indulged in what seemed
to be an unnecessary outbreak
of scattered sibilants.
pit, made for a somewhat lopeffect
throughout the
cathedral. Mr.
beautiful
descrescendo scale in the Dona
Nobis Pacem was a fine technical feat.
Boys’ Choir above them, both
in the north transept, as well
as the male soloists in the pul-
sided
and
brought
ironic words. Mr. Keyte gave
a splendid rendering of the sad
solo, Bugles sang. It is a pity
‘the ' words
were
not ' more
conducted
orchestra,
Oliver
Keyte
much dramatic stress and often
tenderness
to
Owen’'s
nobly
'
Jesu
of Pie
tra — i1s the soprano, and Sally
Le Sage provided a boldly con© fident
interpretation
of
this
mance
is obviously' authentic,
chfiallenging
role. = Her
lower
it' still presented difficulties of
'
notes may sometimes have been
arrangement and acoustics. The
lost in the orchestral
: texture,
setting
modern- cathedral for its perfor-
but her resonant tone
brilliant
Sanctus,
and
‘smooth swell
in
the
fervent
Dies Irae (with its strange 7/8
dotted rhythm) ranked among
the most inspiring moments.
:
pianissimo
most.
was
plished, even from the opening
bars
and
the
bitter, . poignantly
human
- poems of Wilfred Owen, written
in the blood-stained trenches of
France
where
he
was
killed
seven days before the Armistice
| of the First World War, create
| a remarkable testament against
man’s inhumanity to man
its
:
But
It is not a requiem in the
consolatory, soothing or even
wholly mournful sense to which
we are accustomed, but for the
most. part a stark, yet absorbling, denunication of the futility
and wastage of war.
|
The opposing . texts H of the
Mass
though
some of the heavier choruses,
such as the Libera Me, against
the full
- blast of the G.P.O.
The requiem is the greatest
of
Benjamin & Britten’s
nonoperatic choral works and was
composed, with conviction and
intensity, for the consecration
of the new Coventry Cathedral
in 1962.
Latin
admirable
blend sounded, was muffled in
* tone
to
mateh
the
beauty
the Latin text. — J.C.D
]
of