‘HAYDN’S Mass in B
flat and Stravinsky’s
: Thc GPO performance was
rounded and mellow, punctuated by exciting dynamics for the
Laudamus and a good rhythmic fugue, bouncing and disci-
trast in style for religious
works at last Saturday’s
plined.
Symphony of Psalms
‘made an exciting con-
Guildford - Philharmonic
Orchestra concert.
They demanded completely
different tonal quality from the
highly professional Guildford
Philharmonic Choir, and the
singers’ performance was a fitting tribute to chorus master
and concert conductor, Simon
Halsey, on his last appearance
with them.
The choir demonstrated its
excellent discipline, diction
and balance, and the two
works gave the opportunity for
it also to reveal tonal versaulity.
Haydn’s Mass uses choxr, soloists and orchestra as different
voices in the one orchestra,
none hugging the limelight,
none sinking into mere accom-
paniment.
The soloists blended well,
with the exception of soprano
Charlotte de Rothschild, who
produced a rather obtrusively thin tone, particularly in contrast with alto Gaynor Keeble,
whose rather plummy delivery
was often lost in the sound of
the orchestra.
Tenor Joseph Cornwell’s relaxed ‘tone came over surprisingly well against the starker
sound of Mark Peterson’s bass,
but the Mass did not really
give any of the soloists a fair
chance to shine.
It ended on an optimistic
and joyful not for the Agnus
Dei, giving the slight sensation
of a race between choir and
orchestra, orchestra in the lead,
but the optimism was very different from that bursting from
the Stravinsky Symphony of
Psalms.
- Here the choir changed its
polite,
mellow
tone
for one
much more vibrant and raw.
Excitement was in the air; even
the physical arrangement of instruments. on the stage was
dramatic. Two pianos, a con-
cert and a baby grand facing
each other flanked by rows of
brass one side, strings the
other.
Delicate woodwind, precise
vocal discords and dramatic
use of brass make this an important statement of Stravinsky’s faith, and the GPO
and choir gave an impressive
performance.
The two choral works were
separated by the delightful Serenade for Strings, by Elgar.
This light and delicate piece
made an excellent foil, as well
as giving scope for the orchestra to show off its subtlety of
touch and technical control in
the long piano close to .the
second movement.
Simon Halsey should be well
pleased with his send-off.
Jane Garrett.
J
THE ADVERTISER, MARCH 20, 1987
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