Waverley Singers

Waverley Singers Summer Concert: Stylish and Varied

St Andrew's Parish Church in Farnham was the venue for the Waverley Singers' Music for a Summer Evening on June 13th. Under the direction of their conductor Malcolm Hicks and with organist Paul Griffiths, the evening got off to a fitting start with "Summer Is Icumen In", followed by selected works of English choral composers: Byrd, Tallis, Purcell, and Gibbons. The choir projected assuredness in these works, particularly evident in Tallis's "O Nata Lux" and "If Ye Love Me". Gibbons' "Hosanna to the Son of David" exposed a slightly ragged entry, but quickly assumed an energetic and commanding conclusion to these first items.

Paul Griffiths chose "A Maggot” by Arne as his first organ solo of the evening. This humorous and playful work contrasted with his varied repertoire for the concert, which included the profound “Prelude” based on Psalm 23, v 4, by Herbert Howells, as well as the adventurous “Sonate 11” by Hindemith and finally a stirring allegro “Fanfare” by Lemmens. All were performed with masterly technique and were a delight to the audience.

The Waverley Singers have recently returned from a successful trip to Holland, where they performed in churches in Old Amsterdam. It is not surprising, then, that they included in their programme a collection of three Dutch songs. The first, “Wiegelied”, by Jan Nieland, with its sentimental melody and uncomplicated harmony, contrasted with the following, "De Nevel Dekt Ons" by Verhurst, which held a dark, dramatic atmosphere and expressive harmonies. The final of the three works, “Rel van Edelingen” von by Rontgen, was deeply felt and in the style of the late Romantics.

The intensity of Hugo Wolf's sacred works was heard in “Aufblick”. Wolf's use of chromatic harmony and unexpected modulation, combined with his demands on singers to exploit the extremities of range and dynamics, seeks to realise every word and nuance within the text.

Russian composers were represented by the sacred works of Stravinsky and Tchaikovsky. It was particularly in Tchaikovsky's “Blazhenni Yazhe Izbral” and “Dostoyno Yest” that the men were given a chance to shine. The whole choir certainly seemed to have a very warm Russian sound and character, which achieved something much more than language, notes, and dynamics.

Swelinck’s “Laudate Dominum” followed, and its contrapuntal style was clearly articulated, accurate and bold.

The second half of the evening opened with two works by Dubra. The simple but stylishly chordal "Ave Maria" preceded the beautiful "O Bone Jesu", which was executed with great care for the music and words.

Benjamin Britten's three-part “Hymn to St Cecilia", with soloists Christine Siddall (soprano), Sussanna Russell (mezzo), Robert Gussman (tenor), and Norman Lingard (bass), captured the essence of the text with energy and enthusiasm.

Sir Michael Tippett's "Five Spirituals" from "A Child of Our Time", with soloists Joan Warren (soprano), Angela Morecroft (soprano), Robert Gussman (tenor), and Norman Lingard (bass), was performed with a sympathy for the "Deep South" origins of the text and melody, which did not compromise the individual stamp of Tippett's imagination.

The final item was J.S. Bach’s "Lobet Den Herrn, Alle Heiden". It was an appropriately triumphant note on which to end an evening of richly varied music, presented and performed with professionalism and style.

Contributed