All Saints Church, Hove, 12 July 2014

Gentle music for a summer evening. A full church, and thankfully not too warm, gathered to hear the European premiere of Malcolm Hawkins’ Martha and Lazarus.  The setting for baritone solo, chorus and small orchestra draws on the gospel story of the raising of Lazarus but leans heavily towards Caravaggio’s painting of the same which highlights the relationship between Lazarus and Martha rather than the focus on Jesus. As such the text highlights Martha’s loss rather than the impact of Lazarus’ resurrection. The final Alleluia is surprisingly muted and Jesus’ call to Lazarus does not speak of conviction or absolute faith. The musical language is melodically unchallenging throughout and there is rarely any sense of heightened emotion given the weight of the narrative. Carefully crafted, the work never quite thrills in the way the story does on the page.

Vaughan Williams’ The Lark Ascending may be one of the most popular compositions of all time but it never fails to lift the spirits. Benjamin Baker’s warm solo violin was as much a part of the rural landscape as of the ethereal. Its musical line seemed to keep returning to us to draw us ever further aloft, yet never escaping the beauty of the landscape below. His solo encircled the folk tunes to purify, possibly even sanctify them, uniting heaven and earth in the simplicity of a single line.

After the interval Durufle’s Requiem sat very comfortably in the rich acoustic and the organ sounded suitably French in its undulating weight from the start. There is a joyous conviction about this setting which was well caught by chorus and orchestra, the occasional moments of doubt rapidly cast aside by the assurance of salvation. The lovely antiphonal setting of the Christe eleison radiates hope and certainty that mercy will follow. The Agnus Dei  unfolds like the petals of the flower, with a soft, almost voiceless whisper of sempiternam.

Paul Reeves’ brief solos in the Durufle seemed happier than those in the Hawkins, and his assured baritone carried easily in the church. The Orpheus Sinfonia impressed throughout, and Joseph Cullen gave us considered and apt registration for the organ solos in the Durufle. James Morgan balanced his forces well in what can be a difficult acoustic, ensuring that the text carried and solo instruments spoke with clarity.