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Audiences and singers are conservative creatures; they both know what
they enjoy listening to and singing. Therefore Beaminster Singers choice
of music was certainly bold and that boldness was rewarded with a splendid
evening of music from around Europe, some of it not often performed. It
was clear that while the choir revelled in its challenge, the audience
were equally enthusiastic in what they heard, probably for some for the
first time.
The first piece was Johannes Brahms’s Liebelieder Walzer and reading the most helpful programme notes, it
was hard to believe that 17 different sections could all be based on the
one musical rhythm: but this is exactly what happened. After an uncertain
start, the choir settled down to demonstrate their flexibility and skill
in giving musical director Hilary
Kenway exactly what she was asking for. This was helped by a clever
mix of fewer voices and a solo for the more intimate sections. Estelle Wood’s solo was especially effective as it demonstrated
a full tone through a wide and challenging range.
To
the uninitiated Benjamin Britten’s music is full of dissonance but
many will have been surprised at just how effectively this was handled
in his Flower Songs. The choir worked very hard
to successfully portray this highly descriptive music. The marsh flowers
were especially evocative of their squelchy
environment complete with the danger of stinging nettles. This was achieved
not only by their sound but by the choir’s acute sense of drama!
The
first half closed with Seiber’s Hungarian Folk dances and was for many the highlight of the evening.
The clarity of diction throughout this exciting piece was quite superb,
combining hugely impressive expression and changes of tuning which produced
a performance to stand comparison with any professional choir.
Unshackled
from the technical demands of the first half, the choir and the men especially,
revelled in the freedom of expression for Elgar’s Bavarian Dances. Uncomplicated music presents its own challenges and
the lovely smooth transitions were handled with great aplomb. Throughout
the evening but in particular the Elgar, the accompanying of Antony Saunders was skilfully sympathetic.
Accompanists of this pedigree are hard to come by and his contribution
should never be underestimated.
The
exquisite Linden Lea was an
unexpected bonus for the audience before we finally moved away from the
secular to the sacred with Mozart’s very popular Ave
Verum. This piece requires great concentration
to hold the tuning but the choir achieved this. It is a great shame that
the acoustics of St Mary’s Beaminster did not do justice to this
beautiful piece or the rousing finale of Handel’s Zadok the priest.
Despite the best efforts of the choir, the resonance of the building failed
to reward their hard work.
Musical
Director Hilary Kenway deserves
great credit for producing a concert of high quality and which has justified
the growing reputation of Beaminster Singers under her tutelage. With
her enthusiasm, the choir’s appetite for hard work and the good fortune
to be accompanied by the incomparable Anthony Saunders on both piano and
organ, ably assisted by Murray
Davis we can look forward confidently to more successes.
John
Coley
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