18 July, Boxgrove Priory Church
From the opening chords of Bach’s ‘Komm, Jesu, Komm’ which reflected the wonderful acoustics of Boxgrove Priory, we knew we were in for a thrilling evening of music. The attack of the double choir provided an uplifting sound which was well-phrased and balanced throughout the motet.
Byrd’s ‘Laudibus in Sanctis’ is a five-part setting of words from a paraphrase of Psalm 150. This performance showed the lovely tone of the ladies of the choir, during which the voices of the sopranos soared into the lofty ceiling of The Priory. The men excelled themselves in proclaiming the use of the warlike trumpets!
‘Ne Irascaris’ is another five-part work by Byrd which showed the beautifully smooth singing of the choir in well-shaped phrases, depicting both pleading and sadness. This was achieved by controlled breathing and careful entries, delighting the capacity audience.
The programme of favourites of the choir included James MacMillan’s ‘Miserere Mei’ in which Peter Gambie expertly directed the plainchant and elements of Scottish traditional music with clear dynamics to produce a spellbinding performance.
After the interval, Peter Gambie urged the audience to resist falling asleep during a piece by John Cage. Actually, it turned out to be the reverse, as the unusual piece held the audience ‘s attention throughout and produced an enthusiastic round of applause.
Karen Kingsley was the talented pianist accompanying Poulenc’s ‘Gloria’ (1959) which was a joyful ending to the concert. The soprano soloist was Jenni Halliday who managed the demanding part with confidence and produced a thrilling sound both with and without the choir.
The choir is to be congratulated on its 50th Anniversary and Peter Gambie on his 34 years with the choir, during which he has widened the repertoire and improved the performing standards.
Geoffrey Porter
