Barbican Hall 11 May 2011

While the main focus of this programme was clearly Brahms’ German Requiem, it was the first half that contained the more interesting and challenging items. Phil Glass’ A Gentleman’s Honor seemed on paper an unlikely piece, ripped as it appears to be from a much longer work and rescored here by Jeremy Marchant. In the event it proved an exhilarating opening to procedures, with a splendid inter-play of textures and sonorities from the Hertfordshire Chorus. Though sung in English it could as easily have been in Sanskrit as the text was all but inaudible and seemed to bear little relationship to the score.

The concert also included the first performance of Will Todd’s setting of Keats’ Ode to a Nightingale. Considering how intimate and introspective much of the text is, it was surprising to find the composer’s romantic idiom working so successfully. Frequently lush in its orchestration and oriental in feeling – presumably a reflection of the underlying drug culture – it draws on Walton and Vaughan Williams without ever being derivative. I had enjoyed Will Todd’s The Blackened Man at Buxton some years ago and it was good to find that the freshness of writing is still very much in evidence.

The text rises clearly through the orchestral textures and one is aware of the psychological focus of the narrative as it proceeds. The chorus obviously enjoyed singing it and I am glad to note that the work will be repeated at The Sage, Gateshead, on 5 May 2012.

Barbican Hall 10 October 2011

There is a distinct advantage in hearing Elgar’s The Dream of Gerontius in the concert hall rather than a large cathedral. The clarity of sound allows both for a wider range of dynamics and also far greater impact for the text.

The first entry of the chorus was exemplary in its refined diction and simple dignity. If the demons’ chorus did not have quite that textual finesse this is more a problem with the density of the writing than the quality of the singers. However Go forth was as fine as I have ever heard it. Here it was Ashley Riches’ heroic priest that led a majestic ensemble to a thrilling spiritual climax.

David Temple’s approach allowed the orchestration to erupt, often violently, where necessary, but was able to take it down to a hushed, motionless whisper in the second part.

Susan Bickley was a last minute replacement as the Angel but was at ease throughout, finding the joy in Softly and gently which comfortably rose above the combined orchestral and choral forces.

Robert Murray was more at ease in the Barbican Hall than he had been earlier in the summer during the Proms and brought intelligence and musicality to his reading of Gerontius.

The chorus characterised the various spiritual groups with subtlety and were well supported by the Finchley Children’s Music Group and the angelicals.

The only slightly sour note – quite literally – was from the organ which seemed unbalanced at times and produced some unexpected sounds. This may be one of the continuing problems with the hall not having a pipe organ of its own – though one accepts it is unlikely ever to get one.

BH