Poulenc Gloria and Berlioz Messe Solennelle
On Bastille Day, July 14th, an appreciative audience was treated to a thrilling concert of French choral music in Kendal Parish Church by an obviously enthusiastic New Millennium Chorus and Orchestra, inspiringly conducted by Ian Jones.
The concert began with the setting of the Gloria by Francis Poulenc, and in the second part of the concert we heard a much less familiar piece: the Messe Solennelle by Hector Berlioz.
The concert began with the setting of the Gloria by Francis Poulenc, and in the second part of the concert we heard a much less familiar piece: the Messe Solennelle by Hector Berlioz.
Concert Review
Concert Review On Bastille Day, July 14th, an appreciative audience was treated to a thrilling concert of French choral music in Kendal Parish Church by an obviously enthusiastic New Millennium Chorus and Orchestra, inspiringly conducted by Ian Jones. Before the concert proper, the arriving audience was entertained by 'Folklore', a group from Dallam School, and then the choir appeared, decked out in the colours of the Tricolour.
The concert began with the setting of the Gloria by Francis Poulenc. This piece has been around now for 50 years, but has lost none of its exuberant eccentricities and attractiveness. The performers launched into it with all the energy that it calls for and obviously enjoyed themselves. Similarly, the quiet and reflective parts kept up the commitment that is easier to display in loud and fast passages. The soprano soloist, Alexa Mason, provided an attractive contrast to the full sound of the choir.
In the second part of the concert we heard a much less familiar piece: the Messe Solennelle by Hector Berlioz. This was written in 1824, when Berlioz was only 21, but after one performance he decided that he did not like it and it was destroyed. Only by chance in 1991 was a copy found (in Antwerp) which had survived the composer's purge. Once again, the New Millennium Chorus and Orchestra gave an enthusiastic and committed performance. One can see why the composer had second thoughts about it. It contains many good musical ideas, some of which he used in later works, but the work as a whole does not always hang together. One could imagine a lesser performance sounding tired and dull. This was not such a performance!
Among the notable features of the piece was the extended setting of the Kyries, the prayer for mercy that opens every Mass. This finishes on a triumphant note: it might appear that the composer felt that his prayer was already answered. Also, in a display of typically French independence of thought, the composer adds two motets into the flow of the Mass, one at the Offertory and the other (in praise of the king!) at the end.
In the Berlioz, the choir, orchestra and soprano soloist were joined by two more soloists, the tenor Matthew Marriott and the baritone Rhys Jenkins. All three were more than equal to the considerable demands of the score, both technically and musically.
This concert was a further major achievement for the New Millennium Chorus and Orchestra, and for Ian Jones. The audience was not quite as big as it had been for previous performances, but it was just as enthusiastic. The French atmosphere, with the choir in their red, white and blue, was enhanced by the soprano soloist's matching rosette. Perhaps one little niggle: had the choir pronounced their Latin in the French manner, our joy would have been more than complete.
It should be added that the cost of mounting such a performance is considerable, and hitherto contributions have been forthcoming from local and national sources. With so much Lottery money and other central funds now being channelled to the Olympic Games, these moneys will not be available. If Kendal wishes to continue with music of this calibre, we are all, corporately and individually, going to have to dig much deeper into our pockets.
The concert began with the setting of the Gloria by Francis Poulenc. This piece has been around now for 50 years, but has lost none of its exuberant eccentricities and attractiveness. The performers launched into it with all the energy that it calls for and obviously enjoyed themselves. Similarly, the quiet and reflective parts kept up the commitment that is easier to display in loud and fast passages. The soprano soloist, Alexa Mason, provided an attractive contrast to the full sound of the choir.
In the second part of the concert we heard a much less familiar piece: the Messe Solennelle by Hector Berlioz. This was written in 1824, when Berlioz was only 21, but after one performance he decided that he did not like it and it was destroyed. Only by chance in 1991 was a copy found (in Antwerp) which had survived the composer's purge. Once again, the New Millennium Chorus and Orchestra gave an enthusiastic and committed performance. One can see why the composer had second thoughts about it. It contains many good musical ideas, some of which he used in later works, but the work as a whole does not always hang together. One could imagine a lesser performance sounding tired and dull. This was not such a performance!
Among the notable features of the piece was the extended setting of the Kyries, the prayer for mercy that opens every Mass. This finishes on a triumphant note: it might appear that the composer felt that his prayer was already answered. Also, in a display of typically French independence of thought, the composer adds two motets into the flow of the Mass, one at the Offertory and the other (in praise of the king!) at the end.
In the Berlioz, the choir, orchestra and soprano soloist were joined by two more soloists, the tenor Matthew Marriott and the baritone Rhys Jenkins. All three were more than equal to the considerable demands of the score, both technically and musically.
This concert was a further major achievement for the New Millennium Chorus and Orchestra, and for Ian Jones. The audience was not quite as big as it had been for previous performances, but it was just as enthusiastic. The French atmosphere, with the choir in their red, white and blue, was enhanced by the soprano soloist's matching rosette. Perhaps one little niggle: had the choir pronounced their Latin in the French manner, our joy would have been more than complete.
It should be added that the cost of mounting such a performance is considerable, and hitherto contributions have been forthcoming from local and national sources. With so much Lottery money and other central funds now being channelled to the Olympic Games, these moneys will not be available. If Kendal wishes to continue with music of this calibre, we are all, corporately and individually, going to have to dig much deeper into our pockets.